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Britunes is a free music resource for student saxophone ensembles. The music in individual parts is instantly available to download below and scores can be purchased through paypal at £4.99 each.


Tick-ets Please!

Tick-ets Please! is written as a 1920’s style swing piece. The rhythmic hook is this...


There are no tricky extended passages of swing quavers and an overall swing feeling will be achieved if the piece is played near or at the marked tempo. The crotchet in the rhythmic hook should be played very short.

Tick-ets Please Alto 1.pdf

Tick-ets Please Alto 2.pdf

Tick-ets Please Alto 3.pdf

Tick-ets Please Alto 4.pdf

Tick-ets Please Tenor 1.pdf

Tick-ets Please Tenor 2.pdf

Tick-ets Please Bari.pdf

Tickets Please Score       

Aunt Joanne

After a short introduction, Aunt Joanne settles into a bossa nova groove built around this clave rhythm:

Although the pattern moves across the parts, it remains consistent until the change of tempo at bar 35. This figure binds the whole piece together and the staccato articulations will help to define this rhythmic feature.

This piece also make use of close harmony, using thick voicings alongside single lines to create a variety of textures.

Aunt Joanne Alto 1.pdf

Aunt Joanne Alto 2.pdf

Aunt Joanne Alto 3.pdf

Aunt Joanne Alto 4.pdf

Aunt Joanne Tenor 1.pdf

Aunt Joanne Tenor 2.pdf

Aunt Joanne Baritone.pdf

Aunt Joanne Score

Stomp Your Hands and Clap Your Feet!

In this piece, as well as playing saxophone, performers stomp feet and clap hands too. The idea is to build a strong sense of the crotchet to quaver divide in a piece for younger students.

A solid groove from the baritone/tenor 2 parts and short staccato crotchets from the ensemble will hold the piece together.

Stomp Your Hands And Clap Your Feet! Alto 1.pdf

Stomp Your Hands And Clap Your Feet! Alto 2.pdf

Stomp Your Hands And Clap Your Feet! Alto 3.pdf

Stomp Your Hands And Clap Your Feet! Alto 4.pdf

Stomp Your Hands And Clap Your Feet! Tenor 1.pdf

Stomp Your Hands And Clap Your Feet! Tenor 2.pdf

Stomp Your Hands And Clap Your Feet! Baritone.pdf

Stomp Your Hands And Clap Your Feet! Score


If You Say So

If You Say So is a piece built around a groove set up by the baritone saxophone. Tight ensemble playing with careful observation of sub-divisions will produce a solid performance. Accurate articulation where marked will also help to bind the piece together.

If You Say So Alto 1.pdf

If You Say So Alto 2.pdf

If You Say So Tenor.pdf

If You Say So Baritone.pdf

If You Say So Score

Ernest H

Ernest H is a piece which utilises rhythmic unison and independent playing whilst alternating between two themes in major and minor keys.

After a rubato introduction the piece settles at a steady tempo, making use of accompany/melody, as well as some semi-quaver unison patterns. As the music progresses the individual parts become more and more independent, but are brought together in a unison phrase for Altos 1 and 2 and Tenor in 5/4 at bar 56. Observation of dynamic markings and articulations will help to define the melodic structure of the piece.

Ernest H Alto 1.pdf

Ernest H Alto 2.pdf

Ernest H Tenor.pdf

Ernest H Baritone.pdf

Ernest H Score

Dance of the Grebes

This piece was inspired by the manic dances performed by the Grebe bird, from North America.

Careful ensemble balance with attention to dynamic markings will bring out the melodic structure throughout the opening sections. Close voicings run next to open harmony, varying the texture of the ensemble. Careful breathing will make the section at fig. B easier to manage and the minamalist texture here will work best with balanced volumes.

Dance of the Grebes Soprano.pdf

Dance of the Grebes Alto.pdf

Dance of the Grebes Tenor.pdf

Dance of the Grebes Baritone.pdf

Dance of the Grebes Score

Horace Goes To Lagos

This piece came about as a kind of mixture of the music of jazz piano legend and original Jazz Messenger Horace Silver and the Nigerian saxophonist and afro-beat pioneer Fela Kuti.

Dynamic awareness will help to drive the introduction into the statement of the main theme, where the afro-beat groove will help to keep the piece moving along. Careful counting throughout the time signature changes from letter B into C will provide a solid rhythmic foundation. Tenor saxophone has the melody at letter C, passing to Alto 1 at bar 49. The rhythmic unison section of the piece from bar 82 onwards will work best with careful rhythmic awareness.

Horace Goes To Lagos Alto 1.pdf

Horace Goes To Lagos Alto 2.pdf

Horace Goes To Lagos Tenor.pdf

Horace Goes To Lagos Baritone.pdf

Horace Goes to Lagos Score

Horace Goes To New Orleans

This piece fuses some of the techniques used by pianist Horace Silver and traditional forms of New Orleans street music.

The opening section should be taken at a slow dirge-like tempo. Careful ensemble playing and listening will help to hold this section together and set the mood for the piece. The main body of the music is a homage to the marching mardi-gras bands of New Orleans. A solid bass-line from the baritone will set-up the right feel, with alto 2 taking the melody at fig. C. A call and response section leads through into ensemble chords before the DS.

Horace Goes To New Orleans Alto 1.pdf

Horace Goes To New Orleans Alto 2.pdf

Horace Goes To New Orleans Tenor.pdf

Horace Goes To New Orleans Baritone.pdf

Horace Goes To New Orleans Score

Bradley Wood

Bradley Wood is a challenging piece for the baritone saxophone.

From fig. A, careful execution of the minim triplet in the baritone part in contrast with a crotchet pulse 4 bars later will establish a solid groove. This rhythmic feature is reflected across the ensemble throughout the piece. From the repeat of the theme at fig. B, lines in the alto 1 and 2 parts are supportive of the melody. Maintaining the tempo through the change of feel at the bridge from fig. C will help to bind the piece together.

Bradley Wood Alto 1.pdf

Bradley Wood Alto 2.pdf

Bradley Wood Tenor.pdf

Bradley Wood Baritone.pdf

Bradley Wood Score

Inky Sinky

This is a punchy piece, where careful observation of dynamic and articulation markings will drive the music.

Some tricky unison passages across all saxes are a feature of the piece and rhythmic delivery will help to pull the ensemble together. An energetic tempo will also help alongside accurate execution of the clave pattern. As the piece gradually fades out from fig. G to the end, dynamic markings and tempo control will effectively bring the piece to a close.

Inky Sinky - Alto Saxophone 1.pdf

Inky Sinky - Alto Saxophone 2.pdf

Inky Sinky - Tenor Saxophone.pdf

Inky Sinky - Baritone Saxophone.pdf

Inky Sinky Score