Boogie Stop Shuffle: 4 Saxophones AATBar Conductor Score & Parts

Andrew Homzy's arrangement captures the propulsive energy of Mingus's original without sacrificing the compositional sophistication that makes this chart rewarding for advanced players. The up-tempo shuffle groove sits perfectly in the saxophone quartet idiom, and the voice leading gives each player interesting material that rewards tight ensemble listening and intonation control.

Propulsive and swinging, with the easy momentum of a well-oiled rhythm section. The piece breathes with blues sensibility and bebop wit, offering moments of lyrical interplay between the voices before the groove pulls everything forward again.

Advanced saxophone quartets comfortable with jazz language, swing feel, and ensemble coordination. This arrangement works equally well for university chamber groups, professional or semi-professional ensembles, and experienced student combos with a strong jazz program.

• Lock the shuffle feel together before tackling tempo. The groove is the foundation; consensus on swing sixteenths and backbeat placement will tighten the whole arrangement.
• Balance the four voices carefully in the opening statement. The baritone sax carries harmonic weight, but the altos and tenors must cut through clearly without overshadowing the foundational line.
• Mark your section entrances and comping figures early. Jazz quartets often lack a conductor during performance, so clear communication about who's leading each phrase is essential.
• Nail the rhythmic precision in unison passages. Mingus's lines are tight and angular; sloppy attacks and releases will undermine the entire passage.

Program this as a centerpiece for a jazz or contemporary music concert, where it will sit comfortably alongside other chamber jazz repertoire. It also works as a showpiece for saxophone quartet competitions or recitals focused on American jazz composition.

• Jazz phrasing and articulation in a quartet setting
• Swing feel and shuffle rhythm coordination
• Four-part voicing balance and ensemble intonation
• Reading complex jazz notation and rhythmic figures
• Blend and cut-through in ensemble contexts