Pop Quartets for All (Revised and Updated): Alto Saxophone (E-flat Saxes & E-flat Clarinets) Book

Story's arrangements preserve the groove and energy of these iconic songs without sacrificing playability. The graduated difficulty within each piece means the same rehearsal can include players of different abilities, and the no-page-turn format keeps everyone focused on ensemble balance rather than logistics.

These are arrangements that swing, groove, and sparkle. You get the familiarity and immediate appeal of the melodies alongside the modern energy of pop orchestration. Playing through the 'James Bond Theme' or 'Smooth' feels like sitting in on a professional session, just with simpler harmony and more forgiving ranges.

These arrangements work for mixed woodwind quartets, homogeneous groups of altos and clarinets, or any combination that includes E-flat instruments. They suit students from beginning band through advanced middle school, as well as non-traditional ensembles and community music settings.

• Study the recorded performances of the original artists before rehearsal so students internalize the style and feel. Reference specific grooves or horn lines from the source material when discussing articulation and phrasing.
• Identify and mark the unison sections across all parts. These moments anchor the ensemble and give weaker readers a chance to lock in with the group.
• Adjust dynamics collaboratively rather than marking them arbitrarily. Ask the alto saxes and clarinets what balances best with the other quartets, since their blend depends on the full instrumentation you're using.
• Work the swing feel in 'It Don't Mean a Thing' slowly with a metronome first. Students often rush the triplet subdivision, so have them sing the rhythm before playing it.

Program one or two quartets as concert openers to grab the audience immediately, or close an informal family concert with a medley of contrasting titles. They work equally well as chamber ensemble pieces in a recital or as a teaching tool during sectionals when the full ensemble isn't available.

• Balancing within a four-part ensemble and responding to blend adjustments
• Playing idiomatic pop and jazz styles (swing eighth notes, syncopated rhythms, groove-based phrasing)
• Reading score format with multiple staves and tracking rehearsal points across four independent lines
• Adapting articulation and dynamics to match the character of familiar songs
• Sight-reading mixed meters and syncopated rhythmic patterns across Grade 1 to 3-4 difficulty