Mark Watkins

Transcribed from the original Concerto in Eb for Bassoon and Orchestra, K. 191. Now the tenor sax player can perform music for the classical era by one of the great composers of this time.

Transcribed from the original Concerto for Bassoon, Strings, and Harpischord in Bb Major, RV 503 (F. VIII. no. 35). An audience pleaser and a great tool for learning music of the Baroque era.

for Wind Quintet. Well, the title about says it all. This piece is quirky, jazzy, a lot of fun to play, and makes a great addition to the standard quintet repertoire. It is a hard piece to explain, so...

SATB, no improv. Programmatic chart depicting varius experiences while driving. Jazz waltz with a 4/4 bridge. Several contrasting elements using techniques such as swing and straight rhythms, a canon...

SATB, improv in alto & soprano. The entire story of Jack & the Beanstalk is told in this OprogrammaticO bebop blues while, at the same time, paying tribue to a number of jazz OGiants.O The melody has...

SATB, improv in soprano. AABA jazz ballad. Could be classified as medium in difficulty but does require some endurance. The lyrical melody is shifted around the soprano, alto, and tenor saxophones. Ha...

SATB, improv in all parts. This tune is a rendition of a Southern tent revival complete with a guest preacher, choir, and congregation. Built upon a twelve-bar blues, the chart borrows ideas from the...

SATB, can be played without or with improv (for any saxophone), medium, 3:00-5:00 (depending upon improv), improv on a single chord. Tune starts quasi-music box-like but transforms into a jazz groove...

SATB, improv on any saxophone. 3:00+. Straight rock-like feel at onset, moves to a mixed meter jazz waltz, then to a swing solo section and out. 8-bar, three chord repeating section for improv, walkin...

SATB, improv in alto. 4:45. AABA jazz ballad, lyric melody, interesting chords. 16th note sextuplets and 16 bars of ballad (double time) improv most difficult elements.

ATB, improv in sopranol. Count Basie medium swing style. Somewhat challenging soli/shout section with 16th note passages in soprano and tenor unisons with bari and alto harmonic support occasionally j...

SATB, improv in soprano and bari. Compositionally complex, this work is based on fourths and altered chords and scales such as lydian dominant and the super-lodrian or diminished whole-tone. Following...

2 flutes, tenor (doubles on clarinet), bass clarinet, improv in tenor (feature). Feature ballad for tenor saxophone. Designed to be played by a saxophone quartet that doubles. Patterned after a Baroqu...

SATB, improv in soprano and alto. Quartet reduction of wind ensemble with quartet composition. Makes use of rhythm changes, ostinato, and modal techniques within a straight 16th contemporary style. Im...

SATB, improv in soprano. 7:30. Based on a Newfoundland folk tune that helps audiences to relate to the composition. Difficulty lies in use of mixed meters; however, meters fit into a groove that makes...

AATB, solos in alto 1 and tenor. The groove is straight, based on a hip-hop beat concept. In rondo form with an ethereal melody over an open fifth modal sound leading into bebop 16ths and modern harmo...

SATB quartet with rhythm section. Quartet not designed to stand alone (harmonies take advantage of roots in the double bass). Solos in bar and alto. Altered harmonic progression stemming from ''''''''...

SATB quartet with rhythm section. Quartet not designed to stand alone (harmonies take advantage of roots in the double bass). Alto feature with homophonic and contrapuntal support from the quartet enr...

SATB. The 'FOUR' in the title is a tribute to the quartet it was written for, FOUR. Of course 'FOURway' suggests an equal meeting; the 'Stop' is a cluster that appears periodically. The a cappella ver...

This composition was premiered at the Scotland World Saxophone Congress. (Originally written for the pianist in the quintet Out Of Nowhere, upon request for a tune that was 'freer or edgier,' the quar...