Online catalog of concert music: solos, duos, chamber music and more!
(Click on an instrumentation link, works are listed in alphabetical order within each category.)
Solo Saxophone, unaccompanied (Works are listed in alphabetical order.)
A DAY IN THE CITY 7 Vignettes (1986) for solo saxophone (any) by Howard J. Buss. These musical scenes from the city are excellent study and recital pieces. Each vignette depicts an experience the composer had one day during a visit to New York City. The movements are Another Sunrise, Off to a Busy Day, The Lost Key Episode, The Waitin' in Line Blues, Romantic Interlude, Sudden Storm and Out on the Town. "Tonal, charming and imaginative! The low purchase price and the incisive approach of a skilled composer make this a piece worth seeking out.- PMEA News (10) Grade IV.
Score sample: Excerpts.pdf
MIDNIGHT OMEN (1992) for solo sax (any) by Howard J. Buss. This inventive and sparkling composition evokes the mystery and enchantment of the night. Based upon an intriguing 12-tone row, the music is characterized by quiet, lyrical sections contrasted with intense and energetic passages. The musical effect is analogous to the nocturnal calm when interrupted by "things that go bump in the night." This is a memorable recital feature . (430) Grade V.
Score sample: Excerpts.pdf
SOLILOQUY for solo alto (or sopranino or soprano) saxophone by Roger C. Vogel is an introspective work in which 2 contrasting and dramatic musical ideas are developed in a manner similar to an on-stage soliloquy of an actor. A beautiful opening slow section alternates with two faster sections before the work ends with the original reflective mood.
(7') Grade V-VI.
Sound sample: Excerpt.mp3
Saxophone with one other
instrument, or sax & electronic recording, or and alto & tenor duo (Top of Page)
ALIEN LOOP DE LOOPS for sax (Bb soprano or tenor) and electronic recording by Howard
J. Buss is a playful fantasy piece designed to appeal to a wide range of audiences. The title refers to both programmatic and technical elements in the work. The composer envisioned a performer outside in an open area during an air show by an alien craft. During the opening section he/she plays alone, but then is joined by the recording, which contains sounds generated by traditional instruments as well as an "alien" voice, the spacecraft, and various electronic effects. Technically, the title refers to how the recording was made. It consists of numerous sound loops combined to form an imaginative and picturesque sonic tapestry. The publication includes sheet music and a CD (attached to the inside of the back cover) that contains a performance track and the accompaniment track. (6’47”) Grade V.
BLACK NOTES (1987) for alto sax & piano by Zack Browning was written for Joe Lulloff and inspired by jazz saxophonist Rahsaan Roland Kirks composition Blacknuss. In the introduction to Blacknuss Kirk states "there are 52 white notes and 36 black notes on the piano. We're going to play the black notes only, if you don't mind." The opposition suggested between black and white notes is expanded to include static and dynamic elements, consonant and dissonant harmonies, and pattered and non-patterned events. The title also refers to the middle section's exclusive use of the black notes of the piano. Vigorous swing rhythms contrast with sections of haunting beauty. (540) Grade V.
Sound Samples: Excerpt 1.mp3; Excerpt 2.mp3
FABLES FROM AESOP for violin and alto sax by Howard J. Buss in 5 movements: The Dog Who Chased a Lion, The Astronomer, The Camel Who Wanted Horns, The Crow and The Pitcher, and The Rabbits and the Frogs. The texts of the fables are written in the score for each movement and may be read aloud by a performer or narrator prior to performance. This entertaining work is a hit with all kinds of audiences and, including those comprised of children. (13’) Grade V.
Score sample: Excerpts.pdf
IMPROMPTU (1994) for clarinet (or soprano sax) and marimba by Howard J. Buss is characterized by driving rhythms and ornate melodic lines. The opening motives in both parts undergo almost continuous development throughout, often giving the work a spontaneous, improvisatory feel. At times the music has a playful, almost frolicking quality. At other times mysterious and introspective passages contrast with intense sections to create an atmosphere of moodiness. The lyrical melodies and interesting timbral contrasts between the instruments combine with the tonal scheme of the music to make a sophisticated, yet audience-friendly, concert work. Two-mallet technique is prominent in the marimba part during the more intricate solo passages and there is some use of 3 and 4 mallets in those sections where chordal writing occurs. A very accessible and enjoyable work. - Percussive Notes. (6) Grade V.
Sound Samples (played on soprano sax): Excerpt 1.mp3; Excerpt 2.mp3 - Score sample: Excerpts.pdf
MYTHIC QUEST (2000) for flute & soprano sax by Roger C. Vogel. In mythology there are numerous stories of quests. Heroes such as Perseus, Hercules, Theseus, Jason, and others undertook missions of great importance during which they risked their lives, encountered strange creatures, and had many adventures. Mythic Quest seeks to capture the urgency, excitement,, and drama of such an ancient journey. The flute and sax, equal partners, pursue each other with animated motives throughout the musical adventure. This work is in 3 main sections: a fast, vigorous opening gives way to a more relaxed mood before the quest is concluded with a return to an increasingly resolute version of the opening ideas. (10) Grade V.
Sound sample: Excerpt.mp3
NOVELLA (1991) for alto sax & piano by Howard J. Buss was written for Ken Fischer. In creating this work the composer was concerned with how diverse emotions interact with one another when they are juxtaposed and intertwined in a musical context. The emotions expressed in the course of the musical dialogue range from lyric tenderness to intense aggression. The dramatic quality of this music coupled with zesty dance-like sections make this an exciting addition to a program.
(720) Grade V. Score sample: Excerpts.pdf
Excerpt 1.mp3; Excerpt 2.mp3; Excerpt 3.mp3 View on YouTube
SAXY for tenor sax and piano by Howard J. Buss, dedicated to saxophonist, Barry McGinnis, is in 2 movements: Moody and Slap-Happy. The sax part incorporates some special effects such as slap and smack tonguing, the wood block slap, pitch bends, and growl, all done in a playful manner. Dr. McGinnis and Dr. Sarah Masterson premiered it at the 2018 North American Saxophone Alliance Conference at the Cincinnati Conservatory of Music. (10'45") Grade V.
Sound samples: Movement 1: excerpt 1.mp3,excerpt 2.mp3; Movement 2: excerpt 1.mp3,excerpt 2.mp3
SEEKING ITHACA (2007) for alto sax & piano by Anne M.. Guzzo was inspired by the adventures of Odysseus in Homer's Odyssey. It is in 2 movements, Calypso's Gift and Adventure. In the first, Odysseus is stranded on the Calypso's island, where he becomes enchanted by the beautiful goddess. Calypso is in love with Odysseus, but she makes the decision to let him continue his adventures and find his family again. Musically, the mournful yet proud opening sax melody employs both traditional sounds and extended techniques such as key pops and air-tones. This melody, in one form or another, becomes the basis for most of the composition, which is harmonically fleshed out by extended chords in the piano part. A slower second half, marked "Distantly, sadly," recalls motives from the opening section, and creates a sense of loss, signified by the sax's pitchless air-tone at the conclusion. The second movement, Adventures, is inspired by Odysseus' encounter with the Cyclops. (12') Grade V-VI.
Sound samples: Excerpt 1A (1st movement).mp3; Excerpt 1B (1st movement).mp3;
Excerpt 2A (2nd movement).mp3; Excerpt 2B (2nd movement).mp3
SONATA (1991) for alto sax & piano by Roger C. Vogel was composed for saxophonist Lawrence Gwozdz. It is in 2 movements and is cyclical. Following the energetic introduction to the first movement, the animated main theme is used in various transformations throughout the movement.The beginniing of the second movement features a beautiful, flowing melody that undergoes compelling development. This is followed by a brisk concluding section during which the exciting principal theme of the first movement recurs in alternation with the lyrical opening theme of the second movement.This is a solid addition to the saxophone repertoire and is recommended highly. - The Saxophone Symposium (1030) Grade V.
Sound Samples: Movement 1.mp3; Movement 2 (the opening).mp3
SOUNDSCAPES for saxophone (Eb alto doubling on Bb tenor) and drum set by Howard J. Buss was written for Barry McGinnis. It is in 4 movements: I. Urban Bustle, IIa. Blueish Serenity, IIb. In Transit, and III. Spiritosity. Movements I. and III. are scored for alto sax, and movements IIa. and IIb. are for tenor saxophone. The percussionist uses a standard drum set and wind chimes. (14’30”)
Grade V.Sound samples: Movement I excerpt.mp3;
Movement IIa excerpt.mp3; Movement IIb.mp3; Movement III excerpt.mp3
TEMPERAMENTS (2015) for flute and alto saxophone by Roger C. Vogel. The title refers to the mental, physical, and emotional traits of a person as manifested by peculiarities of feeling, temper, action, etc. The 5 movements illustrate various types of traits or feelings: Searching (3’10”), Wavering (3’), Pursuing (2’40”), Floating (2’45”), and Quivering (2’55”). They may be played individually, or in any grouping. The performers read from score, two scores are provided. Duration: @ 14’30” with no pauses. Grade V. Score sample: Excerpts.pdf
THREE JAZZICALS (2009) for Bb soprano sax & tuba by Howard J. Buss is in 3 movements - To Bop or Not to Bop, Sounds from the Cool Smoke, and Hotish. The composer states, “ In Three Jazzicals it was not my aim to create a specific hybrid style by synthesizing jazz and modern classical music; rather, my intent was to systematically strip away the fundamental elements of jazz to explore at what point the music ceases being jazz and becomes classical. The style is the resultant this procedure. It is understood that because the subject of what constitutes jazz (there are so many kinds) is so complex, depending upon the background and views of the listener, this work will sound jazzy (in varying degrees) to most, and mostly classical to some.” The instruments employed have been traditionally used in jazz. However, stripped away is the rhythm section; traditional chord progressions; melodic, rhythmic and formal clichés; and improvisation. Among the elements kept is the allowance for personal expression through each player’s tone, inflections, and articulations. (12’)
Sound samples: Excerpt, Movement 1.mp3; Excerpt, Movement 2.mp3; Excerpt, Movement 3.mp3
TIME CAPSULE for Eb alto and Bb tenor sax by Howard J. Buss is in 4 movements: Daybreak has a frolicking character. Chorale breaks with the typical chorale in that each phrase gets a measure longer. Rendezvous, is in a lilting 6/8. Homeward Bound, begins with a fanfare passage that gives way to a spirited dance-like section. Two scores provided. (7’) Grade IV-V.
Saxophone trio (Top of Page)
AQUARIUS for saxophone trio (alto, tenor, and baritone) by Howard J. Buss showcases both the agility and the beautiful, sonorous tone of instruments. It is part of a series of works by the composer inspired by aspects of the signs of the Zodiac. The two movements are At the Glow of Dawn (3’) and Ocean Blue (3’50”). This work explores a variety of sonic atmospheres and moods. The sophisticated musical language coupled with soaring melodies and intriguing rhythms makes this an accessible concert work as well as an impressive contest piece.
Saxophone quartets (Top of Page)
AVE VERUM CORPUS by Wolfgang Amadeus Mozart, arranged for sax quartet (soprano, alto, tenor and baritone) by Howard J. Buss, makes an exquisite addition to a recital and is especially effective in a church setting. Multiple performers may be used on the parts to expand the ensemble. (3’30”)
CANZONA by Florentio Maschera (1540-1584) arranged for sax quartet (soprano, alto, tenor and baritone) by Howard J. Buss was written in the imitative style of the late Renaissance. It is a stirring addition to any recital, and is especially effective in a church setting. Multiple performers may be used on the parts to expand the ensemble. (2’30”) Grade III.
Sound Sample: Excerpt.mp3
DREAM VISIONS for sax quartet (soprano, alto, tenor & baritone) by Scott Jordan is in 2 movements evocative of nighttime inspired moods.The Turning Mind is a chaconne that commences with ominous chords and builds to a brisk climax. Disquietude is up-tempo, fiercely rhythmic, and maintains a state of excitement and suspense throughout. (745) Grade V.
Movement 1.mp3, Movement 2.mp3
DRY BONES, the well-known African American spiritual (the foot bone's connected to the leg bone, the leg bone's connected to the...), arranged for sax quartet (soprano, alto, tenor & baritone) by Howard J. Buss, makes a fun concert feature as well as a rousing musical offering in church. Multiple players may be used on each part to expand the ensemble. This arrangement is hugely influenced by jazz. The arranger wrote an extended two-part introduction which begins hymn-like, and then breaks out in a jubilant jazzy section. This is followed by a more traditional rendering of the spiritual; however, as the music reaches its climax, the jazz "licks" from the introduction are brought back as counterpoint against the main melody of the spiritual.
(230) Grade IV.
Sound sample: Excerpt.mp3
FUGA VII (from the Well-Tempered Clavier, Book II) by Johann Sebastian Bach was transcribed by Howard J. Buss for sax quartet (soprano, alto, tenor & baritone) is appropriate for performance in church. Multiple performers may be used on the parts to expand the ensemble. (2’30”) Grade III.
Sound Sample: Excerpt.mp3
ONCE MORE (1996) for sax quartet (soprano, alto, tenor & baritone) by Lee Heritage is in 2 main sections. The first presents the primary espressivo melody accompanied by accented chords, a duet between the tenor and baritone sax, and a rhythmically animated passage. The second section gathers momentum as a web of espressivo lines lead to the climax of the work. The quiet conclusion is stated in a pair of brief coda-sections, played "As a whisper." (5) Grade IV.
Sound Sample: Excerpt.mp3
RICERCARE (originally Ricercare on C) by Andrea Gabriel (1510-1586) transcribed for sax quartet (soprano, alto, tenor & baritone) by Howard J. Buss. Written in the imitative style of the late Renaissance, it makes an excellent concert feature or a stirring offering in church. Multiple performers may be used on the parts to expand the ensemble.(2’30”) Grade III.
Sound Sample: Excerpt.mp3
Saxophone in chamber music (Top of Page)
COSMIC PORTRAITS (2009) for flute, clarinet, alto sax & tenor sax by Howard J. Buss consists of three movements inspired by views of objects in the Milky Way galaxy. The titles of the first 2 movements, The Backbone of Night and The Pale Blue Dot are taken from the writings of the renowned astrophysicist, Carl Sagan. In his book, Cosmos, he describes how the !Kung Bushman in Botswana refer to the Milky Way as “the backbone of night.” The spine of the Milky Way often appears directly over the Kalahari Desert. The !Kung believe it to be the structural foundation of the heavens and that one of its functions in relation to Earth, among many, is that it holds up the darkness.In his book, The Pale Blue Dot, Sagan poetically describes a haunting view of Earth from a distant point in our galaxy. He puts our worldly concerns into cosmic perspective when he refers to all that has ever happened to human beings as occurring “on a mote of dust suspended in a sunbeam.” The final movement, Orbitals, suggests celestial bodies revolving around one another in a fascinating cosmic dance. Moons orbiting planets, planets around suns, suns around other suns culminate in the swirling wonder of our galaxy. (18’10”) Grade V.
ESCAPADE (1991) for alto sax and 4 percussion by Howard J. Buss explores a sequence of emotional states which develop over a talea, a fixed pattern of time values. Except during the extended sax cadenza, this repeating rhythmic pattern can be heard throughout the work in varying degrees of intensity. At times it is forcibly presented by the musicians moving in rhythmic unison. On other occasions the talea is fragmented and distributed among the players. Frequently this rhythmic pattern is embedded in the presentation of melodic material similar to the technique of isorhythm as it was employed by 14th-century masters such as Machaut and de Vitry. The continuous variation of the unifying talea coupled with the works intriguing melodies and exotic timbral contrasts, make this an accessible concert work. Percussion distribution: Percussion 1: Timpani (4), temple blocks, snare drum, and 2 suspended cymbals; Percussion 2: Orchestra bells, xylophone, maracas, triangle, 2 cow bells, suspended cymbal, and chime tree; Percussion 3: Vibes, tam-tam, roto toms, and claves; Percussion 4: Marimba, guiro, and 2 suspended cymbals. By far the nights most memorable piece. - The Los Angeles Times. (1130) Grade IV-V.
Sound Samples: Excerpt 1.mp3; Excerpt 2.mp3; Excerpt 3.mp3
View on YouTube
IN DARKNESS (1989) for high voice (soprano or tenor), alto sax & piano by Roger C. Vogel. In Sophocles tragedy Oidipous Tyrannos the protagonist was separated from his parents at birth. He unwittingly fulfilled a prophesy by killing his father in a quarrel and then marrying his mother when he became king of Thebes. In Darkness is a narrative of the events that took place after the incestuous marriage became known. Although the melodic and harmonic language of this work is modern, it incorporates some of the flavor of the ancient Grecian melody by deriving important motivic material from the ancient Dorian scale as it was sung in the chromatic genus. Recorded on the OASIS CD Love Letters, available from Brixton Publications CD-109. This powerful, engaging work makes a memorable concert feature. (1630) Grade V.
Sound Sample: Excerpt.mp3
LULLABY OF THE SEA (2002) for oboe, clarinet, alto sax & bassoon by Robert J. Frank was inspired by the gently undulating waves, shimmering moonlight on the surface, and gentle brezzes of the ocean on a quiet evening in a warm, tropical part of the world. Rolling gestures in the accompaniment compliment the gentle melodic theme, with the occasional call of the seagull. As the work draws to a close, the wind and waves still, lulling the final saxophone melody into blissful sleep.
(2’) Grade IV.
Sound sample: Excerpt.mp3 - Score sample: Excerpts.pdf
NIGHT WINDS (1994) for alto sax and wind quintet (flute, clarinet, oboe, bassoon & French horn) by Roger Vogel is suggestive of the dark and somber quality of the themes and textures used throughout. The alto sax has been added to the traditional wind quintet and is treated as an integral member of the group. This work is cyclic in form and is in a multi-sectional single movement: there are 3 slow sections that alternate with two faster ones. Night Winds is dedicated to the musicians that premiered it: by Ronald Waln, flute; Dwight Manning, oboe; Theodore Jahn, clarinet; Jean Martin horn; William Davis, bassoon; and Ken Fischer, alto sax. (1230) Grade V.
Sound Samples: Excerpt 1 (the beginning).mp3; Excerpt 2.mp3; Excerpt 3 (the ending).mp3
ON THE WING for violin, alto saxophone and piano by Roger C. Vogel was written in 2013 and revised in 2017 for Rachel and Stephen Fischer. It was inspired by the thrill of flight, as well as that of being in motion, traveling, and being active. The intense energy of taking off, soaring, gliding, and diving is depicted in its musical gestures. The opening begins with ascending motives and progresses through contrasting sections that represent different aspects and emotions that are experienced in flight. As the work progresses these motives recur in various ways, with some surprises, until the final exhilarating coda. Cast in one movement of about 15 minutes in length, the violin, alto saxophone, and piano compete, complement, intertwine, and reflect on the musical ideas equally.(15’) Grade V. (score & parts included)
Sound samples: Excerpt 1 (the beginning).mp3; Excerpt 2.mp3; Excerpt 3.mp3; Excerpt 4 (the ending).mp3
TRIBUTE TO KEROUAC for clarinet, tenor sax, piano & string bass by David Alpher was inspired by the work, life, and times of Jack Kerouac, King of the Beat Generation. Cast in 7 movements, this work is hugely influenced by jazz. In the preface to the score the composer writes: "Kerouac demonstrated the epic contradiction of America: on the one hand its wild energy, joy of life, and expansiveness; on the other, its tendency to self-destruct. Tribute to Kerouac is my musical response to, and commemoration of, this important American writer who liked to describe himself as a 'jazz.poet.'" This work is recorded on Ongaku Records CD#024-112. (17) Grade V.
I.American Nocturne.mp3, II.Movin On.mp3, III. Remembered.mp3, IV. Intermezzo.mp3, V.Beat Scene.mp3, VI.Urgency.mp3,
Recording (Top of Page)
Love Letters - This wonderful CD features 3 exquisite compositions
by Roger C. Vogel: Love Letters for high voice, violin and
piano; The Distances They Keep for 2 high voices, flute,
and piano; and In Darkness for high voice, alto sax, and
piano. All works are published by Brixton Publications.
Music or CDs may only be returned if defective. (Top of Page)
Sax sheet music, graded online catalog. Rated: 5/5 based on customer reviews, All Music in Stock.