Ephesians 5

Watkins' classy SATB saxophone arrangement takes inspiration from Miles Davis. Between quartet solos, choruses of Miles' solo from Kind of Blue are harmonized in a tasteful soli interlude.

Starting with a classic tenor saxophone ballad sound, the melody then moves among the quartet. The writing is somewhat contrapuntal moving to a double-time soli with the theme lilting over the top. Next, we

This jazz SATB sax quartet features a cooking medium-rock feel and is a real hand-clapper. Includes a complete transposed score.

In this AATB quartet arrangement the Tadd Dameron Hot House melody is mixed with Cole Porter's What is This Thing Called Love. It opens with the first two bars used as a fugal theme. After

In this SATB quartet arrangement Charlie Brown's theme delights audiences. Linus and Lucy can be performed at most concerts to mix familiar with unfamiliar and keep listeners' ears ready

Audiences are engaged with this SATB quartet arrangement, livening any concert. The treatment is over the "Sound of Music" changes as opposed to the modal John Coltrane version. After an energetic intro,

Inspiration for this SATB quartet arrangement comes from Miles Davis' rendition following his changes and bridge. The melody is in the tenor, as is often befitting a jazz ballad. Alto improvises over the

The opening melody is in alto 1 with the other saxes providing a punchy, sometimes dissonant accompaniment. Tenor takes the solo with original, non-intrusive, but interesting support from soprano, alto, and

Recorded by many artists, this beloved spiritual is scored for SATB saxes in a jazzy call and response format. Includes a complete transposed score.

Watkins holds true to the David Sanborn version of this tune covering the roles of the melody and rhythm section masterfully. Audiences always thrill to this arrangement, which includes a Supersax

Here's a swinging orchestration for AATB saxophone quartet of this spiritual classic. It's an xcellent example of the call and response form of many spirituals. Includes a complete transposed score.

Layered and varied rhythms set an ostinato foundation for the opening melody in the tenor. All saxophones have solo spots with each accompaniment different. At the end of the alto solo, the other saxes join

The melody is treated as a hocket (fragments played in different saxophone parts horizontally lining up to create a continuous line) always a success with audiences. Much of this arrangement is Basie-like

Wisp is a brief whisper movement. With all trumpets in harmon mutes, the sound is that of a melody appearing vaguely in a dream-like state. It floats over the consciousness and then disappears