The Best of "Shorties": E-flat Alto Saxophone Book

These arrangements pack genuine musicality into formats that actually fit a marching band's real schedule. The mix of iconic rock, soul, and novelty tunes means every rehearsal feels purposeful rather than like filler, and your saxophonists get to play recognizable, fun material that reinforces their section identity.

Energetic and instantly gratifying. One moment you're laying down the groove on 'Soul Man,' the next you're trading classic rock riffs on 'Rock Around the Clock.' The variety keeps the music fresh, and the recognizable melodies mean audiences respond immediately.

Alto saxophonists in marching bands, from developing sections in high school programs to college and community ensembles. These parts work equally well for quick turnarounds in contests and for informal performance contexts where solid musicianship meets crowd appeal.

• Lock the rhythm with your brass on these grooved pieces; the saxophone voice will sit better when the harmonic foundation is rock solid, especially on tracks like 'Tequila' and 'That's the Way.'
• Emphasize the articulation style that matches each tune's era. Rock and roll parts benefit from a crisp, punchy attack; the soul numbers need a warmer, more legato approach.
• Balance your section's octave doublings carefully. Since these are concise arrangements, clarity matters. Make sure your first altos sit above the second altos without overshadowing them.
• Use the brief rehearsal time to mark style changes between sections. Quick transitions between tempos or feels will tighten the overall performance.

Deploy these in halftime shows where you need strong audience engagement without the rehearsal demands of longer works. They also serve as effective opener or closer pieces for pep rallies and stands performances when your full field show isn't the focus.

• Balancing tone production across different musical styles and eras
• Quick memorization of melodic material in short arrangements
• Section cohesion when playing rhythmic figures in unison or octaves
• Stylistic adaptation (rock articulation versus soul phrasing)
• Reading mixed ensemble contexts with varied instrumental doublings