Drei Allemanden und eine Tripla: 4 Saxophones SATBar/AATBar, Percussion Ad Lib Conductor Score & Parts

This arrangement brings Renaissance dance music to modern saxophone quartet with genuine musicality and structural clarity. Friedemann Graef's writing respects Susato's original voice while letting four saxophones explore the coloristic and textural possibilities of the ensemble, making this far more than a dutiful transcription.

Elegant and courtly, with the spatial clarity of Renaissance music translated into the warm, blended sonorities of saxophones. The three allemandes establish a graceful, processional character; the Tripla breaks into dancing rhythmic energy that feels both exuberant and controlled.

Saxophone quartets seeking repertoire beyond the modern standard that also challenges their musicianship without extreme technical demands. High school and college saxophone ensembles will find this rewarding for both performance and concert programming.

• Balance the four voices so that the top line (soprano) sings through without dominating; Susato's melodies reward a light, transparent texture rather than dense voicing.
• Shape each allemande as a complete musical thought with gentle arcs in the phrases; Renaissance dances breathe in ways that straight metering can obscure.
• Treat the Tripla (the faster section) as a natural continuation of the allemandes, not a jarring shift. The rhythmic energy should feel inevitable.
• If adding percussion, keep it unobtrusive and historically informed; light timpani rolls or subtle percussion can anchor the ensemble without overwhelming the saxophone writing.

Program this as a bridge between classical and contemporary works, or pair it with other Susato arrangements to showcase the breadth of Renaissance instrumental music. It also works well in chamber music concert contexts where audiences appreciate the historical connection alongside modern instrumentation.

• Balancing four independent voices in a homogeneous instrument family
• Shaping phrasing and articulation appropriate to Renaissance dance music
• Reading and performing compound meters and changing rhythmic profiles
• Ensemble blend and intonation adjustment across the saxophone range
• Historical awareness of Renaissance music and its adaptation to modern ensembles