Concord Fanfare: 11 Saxophones (AAAAAATTTBarBar) & Opt. Percussion Score & Parts

Marlatt gives every section something to do. The alto and tenor runs are predictable fanfare material, but the baritones get genuine melodic weight with their own scale passages, keeping the lower voices engaged and preventing them from playing time-keeping lines. The optional soprano parts also provide flexibility for groups with different instrumentation needs, making this a practical choice for programs where soprano saxophones might be part of your ensemble.

Bright and propulsive, with the ceremonial character of a fanfare but without pretension. Running passages create forward momentum, while the rhythmic figures give the ensemble a chance to snap together as a unit. It's celebratory and direct.

Saxophone ensembles at the medium level that want an accessible but musically substantive concert opener. This works for groups with 11 or more saxophones, though directors can use the optional soprano parts to adapt it if needed.

• Balance the scale runs across sections so the upper voices don't overwhelm the baritone lines. The lower voices drive the piece forward, so make sure they're audible beneath the more obvious melodic material.
• Rhythmic precision in the fanfare passages determines whether this feels sharp and professional or sloppy. Lock the ensemble on articulation and cut-off points, especially at phrase endings.
• If you add percussion, keep it transparent and energetic. Fanfare writing calls for snap and clarity, not wash. Timpani and snare should highlight the piece's structure, not blur it.

Open a concert with this. Its energy and brevity make it an ideal statement piece to grab attention and set a confident tone before moving into longer works. It also fits well in festival or contest settings where you want to demonstrate ensemble cohesion in a compact format.

• Technical facility across multiple saxophone voices in parallel scale passages
• Rhythmic precision and ensemble articulation in fanfare figures
• Balance between upper and lower voices when melodic material is distributed across the ensemble
• Adapting to optional instrumentation changes (soprano saxophone alternatives)