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Need Someone To Write Battery Part For Show

Hello! I composed a high school indoor percussion show that is still untitled. I am very new to writing for battery so I am asking someone to do it for me. I will credit you! More than one person can do it. Do not steal my composition and claim it as your own.

NOTES ----
There are some parts that I would like for battery parts to not be written:
1. During the preshow, before keyboards enter for the first time.
2. During the transition to Part 2.
3. During the beginning of Part 2, with the eerie celesta phrases. After the marimba enters with the swelling eighth notes, it is fine, and so on.

Here are some parts where I'd like a specific thing to happen:
1. A tenor "Feature" that includes syncopated rims.
2. A cymbal feature where the keyboards decrescendo to mp before the final impact to the end.
Beyond that, you can do whatever you please!


Contact me as soon as you finish! Comment if you are interested!
Additionally, I compose for winds, so if you would like to collab in the future, my email is :


Saxophone scores and groups

 Welcome to the Saxophone group! Here is some Information for you and links to sax scores and other sax-related groups on MuseScore.  

First of all, this particular group (Saxophone) is kind of “basic” saxophone group, containing discussions and articles about saxophone. To read an article - just scroll down after clicking the "discussions" section. You will recognize an article in "discussions" by the [article] prefix in its title.

You are very welcome to make more posts!  

Then, here are some links to other saxophone-related groups including sets of valuable saxophone scores:  

1) Saxophone ensembles group (quartets,quintets,etc.) -
2) Jazz Standards Lead Sheets
3) Sax arrangements group - saxophone arrangements of rock/pop music or movies’/games’ soundtracks
4) Sax solo transcriptions
5) Collection of scores: sax solo or with accompanying instrument -

Feel free to create discussions and articles, to add your scores and to comment! 

Marching Percussion Templates

As we are preparing the MuseScore 2.3 update, I thought I would see what type of templates you guys would like to see added for marching percussion in the next update.

Right now we are considering:

- Drumline (snare, tenors, basses, cymbals)
- Drumline - show style (snare, tenors, single tenor, basses, cymbals)
- Indoor Marching Percussion (add flubs to drumline, plus front ensemble)
- Front Ensemble (help us define this one!)
- Military drum corps (snare, single tenor, bass, cymbals)
- Pipeband drum corps (snare, single tenor, bass)

Anything we're missing? Anything else you'd like to see?

Front Ensemble Instrument Changes

I have been thinking quite a lot about how we can support instrument changes for front ensemble to include mixing pitched and non-pitched percussion.

In trying to come up with a solution to this, I started thinking about the actual physical construction and organization of these instruments, for example on the frame of a marimba is a rail which you can attach another instrument.

Using this metaphor, I came up with the concept of a "rail" added to a pitched percussion staff. This rail functions quite literally the same as the rail on an instrument frame might, enabling the ability to add and switch between nearly any non-pitched percussion instrument.

Here is an example -

New Addition for MuseScore 2.3 - Racks, Flubs & Single Tenors

Hey guys... we're currently working on some updates for marching percussion for MuseScore 2.3.

In addition to expanding several existing instruments, we have a couple of entirely new instruments to be added:

- Flubs
- Single Tenors (show style)

While there is currently a general percussion drumset, I thought it would be great to add a couple of default rack configurations. Maybe you guys have some suggestions for these?

Rack 1 = ?
Rack 2 = ?

Solo transcriptions

Hello everyone! I am a professional improvising sax player (mainly tenor sax). Created this group to post sax solo transcriptions synchronized with youtube videos/audios.

Have posted first 2 solos - check out them in "sheet music" section of the group, here they are:

Please feel free to post solos transcribed by you and sync them with original recordings on YouTube.

See the post below on synchronizing scores with youtube videos/audios

Guaranteed Feedback on Saxophone Scores

Hey, everyone!

This is Joshua, and I'm a composer and a performer and a new admin for the group Saxophone Ensembles. I just wanna generate some discussion and get some activity for these forums. Alex has done a really great job so far with his helpful information. Now, it's my turn: to do this, I think the best way to start would be a feedback form: post your scores to the group or just post a link in this chat and I'll do my best to give feedback. Arrangements or original compositions, I'd love to look at all of them and give feedback. This is just to raise some awareness for this community and also get activity going. Expect more discussions and whatnot in the near future.

So, if you want any feedback, I'd be happy to give some to your saxophone score. Post to this discussion or just send to me and I'll take a look at it.

Collection of scores: sax solo or with accompanying instrument

This is a collection of scores for sax+accompaniment (sax+piano or sax+guitar) or solo scores, mostly of classical style, provided by ORWELL6 ( ), checked by me. I also added some scores there. Please feel free to post more scores of this type (post in this group for now and paste the link to it in comments).

The idea is: If we get more shit music of this type, we will create a separate group of classical sax scores, which will contain this set as a part of it.

[article] Breathing

One of the most important, even the most important aspect of saxophone playing technique is producing sound. Well, that’s obvious: after all, music is the sequence of sounds, and if some musician can’t produce full, nice, let’s say “high-quality” sound, then it’s not worth practising anything else - both the performer and the listener won’t like any music such musician could ever play. But the good news are: with “right” breathing and embouchure (position of lips and everything that is in and around your mouth) anyone can produce the sound he or she really happy with. So let’s deal with the first part of it in this overview: breathing. I’ve been playing saxophone for 17 years and would like to share the information on the topic I find extremely useful.

Actually there are three breathing methods that we use during our day-to-day life. Those are: clavicular (colar bone), chest (throatic) and diaphragmatic. In order to get a full-supported sound on saxophone we need to combine all three methods, but the accent should be put on the diaphragmatic breathing, as this one is the most efficient for our goal: wind instrument playing.

So, what is diaphragm? I don’t feel like inventing something new here, but just referring to wikipedia article instead: it is ” a sheet of internal skeletal muscle that … separates the thoracic cavity, containing the heart and lungs, from the abdominal cavity and performs an important function in respiration: as the diaphragm contracts, the volume of the thoracic cavity increases and air is drawn into the lungs.”

The idea is simple: the air flows naturally to the place with less resistance. So all we need is: 1) Exhale as much air as we can, thus making our lungs a low resistance area 2) Inhale expanding our chest cavity as much as we can to get more air (for our future use in playing instrument) - that is done by lowering of the diaphragm. When playing saxophone during exhaling we “support” the air column contracting the stomach muscles, meanwhile preventing the diaphragm to get quickly to the initial “upper” position, That enables us to play long musical phrases with steady tone/sound.
Here are some exercises on the topic.

To feel the diaphragmatic breathing

  • Ex.1 While lying on the floor (or on the bed or couch if your floor is too dirty:) place an average sized book on your abdomen area. Just breath in a regular way and you will notice the rise of the book when you breath in and the fall of it when you breath out. So the whole breathing process consists of expansion during inhaling and contracting on exhaling

  • Ex.2 To feel the diaphragmatic floor extending: bend over, place your hands on the back of the abdomen area and inhale.Then slowly straighten up and try to get the feeling in the abdomen. For more extreme example try panting like you are out of breath while you are bent over.

To practise the diaphragmatic breathing

  • Ex.3
    1. Place your hands on the abdomen or on the back of the abdominal area
    2. Breath in.with your mouth. I visualise it like being a balloon filling with air (under high pressure) by some pump. So the idea is the quick and powerful air flow to your lungs; quick sip of air, kind of “sucking” it through some imaginary straw.
    3. Breath out with a loud whispered sound, something like “ah”. Try to do that as loud as you can and don’t interrupt the sound. In several days you should be able to reach at least 10-15 seconds of sounding this way.

In this exercise feel the muscles in the abdomen squeezing more and more until you run out of breath. Try to exhale all the air you have, think of it as of squeezing out a sponge. At first squeezing is gentle, but when the sponge runs out of water it becomes more tight. And then - back to step 2. Do it several times, from 10 to 20.

Remember: when inhaling don’t raise your shoulders. Of course they will rise( but just a little !) as the chest cavity expands filling with air, but our goal is diaphragmatic breathing, so focus primarily on the expansion in your abdomen area.

Very thorough study of breathing process and its connection with saxophone player I found in David Liebman’s “Developing A Personal Sound” book, also John O’Neil’s “Jazz Method For Saxophone” contains some useful information on the topic. I’ve mentioned only some pieces of information from the books in this article.

Share more thoughts, breathing exercises in comments. I am eager to know your experience on the topic as well.

Lower lip position moving?

It is not discussed too often, but in fact each note fingered on the horn has an “optimal” spot (for lower lip) on the reed. It’s worth covering the edge of the reed with your lower lip for lower notes, whilst uncovering the read is done for higher notes - this allows more of the higher overtones to come out. That is accomplished by lower lip forward and backward movement (not up and down, which results in “biting”): less of the lip’s fleshier area and lip rolling away from the edge of the reed for higher tones (let’s say beginning with higher B - above the staff) and more of the fleshier area and rolling in the direction of the edge of the reed in case of lower tones. You can read more about the lip movement and embouchure in Chapter 6 of David Liebman’s “Developing a personal saxophone sound”

What do you think about this suggestions and what is your experience? I am eager to know how the stuff with lower lip works for you.

[article] The Embouchure

Embouchure is one of the main things affecting the quality and timbre of our sax sound. It includes lips,teeth,jaw tongue as well as almost all the muscles contained in our mouth and face. Embouchure affects both the air stream (finally) coming to your mouth and the characteristics of reed’s vibration. If one has some embouchure faults, it immediately results in unsteady, week and muffled sound and lack of control. Who wants to listen to and to produce that kind of sound ? I bet no one does. So here are a few words about embouchure appropriate for sax playing,

In other words, saxophonists’ embouchure is basically just “how do we hold the mouthpiece in our mouth”. Here is a simple algorithm:

  1. Place the top front teeth on the mouthpiece making sure they are centralized. You can figure the distance between the tip of the mouthpiece and your teeth only by trial and error, as it varies from player to player. Perhaps a good point to start with is about 10 millimeters and then to “find your own place” on the mouthpiece you are comfortable with.

  2. Slightly turn in the lower lip as if you are saying the syllable “v”.

  3. I prefer to obtain the right position of my tongue and lips by imagining that I am pronouncing ö (german o umlaut), as it combines approved and advised by saxophone pedagogues “o” position of lips with “ee” (like in english word “eat”) position of tongue, which makes the air stream (and, consequently, the sound) more focused.

  4. Finger the middle C or B note and blow your horn pronouncing “four” (according to Sonny Rollins) or “vo” (according to Eugene Rousseau) or “vö” (according to me)

But the main thing to keep in mind is that the embouchure should be “natural”. That means firm but relaxed, feeling maybe like putting a popsicle in your mouth; and let’s remember to avoid putting pressure on the reed with your bottom lip.

Playing long tones every day in the beginning of your sax practise session is an indispensable exercise for both our embouchure and breathing.