Can-Can (from Orpheus in the Underworld): Alto, Tenor & Baritone Saxophones (AATB) Score & Parts

Your students already know this melody from cartoons and commercials, which means they'll hear themselves nailing a "real" piece the moment they play the first phrase. David Marlatt's arrangement respects the original's infectious energy while keeping the technical demands honest for young saxophonists. The straightforward voicing lets each player shine without burying anyone in the texture.

Bright, irrepressible, and instantly engaging. The Can-Can bounces with theatrical energy, and even at the easy level, this arrangement captures that sense of showmanship and delight. Your students will feel like they're part of something bigger than a simple exercise.

This arrangement welcomes first-year saxophonists into the world of ensemble playing. The limited range and straightforward technical demands let musicians focus on ensemble balance, rhythmic precision, and articulation without wrestling with high notes or complex fingerings.

• Lock the rhythmic unison passages early in rehearsal; the crisp, synchronized articulation is what gives the Can-Can its character and drive.
• Emphasize the contrast between the main theme and any secondary sections. Offenbach wrote for effect, and phrasing with intention makes the familiar melody sound fresh.
• Balance tone across the quartet, especially where voices move between parts. The AATB voicing can muddy if the tenor section overpowers the altos.
• Keep the tempo steady and energized. The Can-Can loses its charm if it drags, but rushing muddies ensemble clarity.

Program this as a crowd-pleaser in a spring concert or a showcase for your developing quartet. It also works beautifully as a morale-builder early in the school year, giving newer players an immediate win with music they recognize.

• Ensemble balance and blend across the quartet texture
• Rhythmic precision and synchronized articulation in unison passages
• Phrasing and musical shaping of a recognizable melody
• Part independence and listening to adjacent voices
• Reading AATB voicing and the alto and tenor clef variations