Brighton Beach, by William P. Latham - Score & Sound

[@TomHightower]

Wow. I was in high school band, we played this for concert competition in 1977.

[@tylercoughranmusic]

This was the first song I ever played when I moved up to wind ensemble. The theme change part in F major with the clarinet and euph melody is so beautiful

[@otb.lucccc]

I think the whole song is more like f majors relative minor D minor

[@arandomsampling]

Love this piece and finally a score and sound recording

[@SteveMulberry]

I was catfished. I thought this was another grade 5 song but instead I got a pretty good grade 3 song.

[@TheNameIsGamestar]

Honestly, the grade system isn't all too accurate. I would rate this piece at a 4 because of the style and attention to detail. It has that old, British military march feel to it like the march from Second Suite in F

[@Imaturtlexdlol]

​@@TheNameIsGamestar I also think it would be a grade 4

[@frog3277]

I recently played this at a University Honor Band which sticks to Grade Four stuff, and after playing i’d call it g4 too

[@garywashere_]

fire that crash cymbal player at the end for being a measure late.

[@tylercoughranmusic]

Which is weird too bc it sounds like a midi recording

[@zachsplep]

You know, I kinda like it like that! It sounds like the Percussion section gives the march a final kick in the bottom! 😊

[@WitchKing-Of-Angmar]

I think I'm officially tired of Alto Saxophones playing verbatim to a...brass instrument. Lets let Saxophones be similar to 1#, their own unique ghostly sound, and 2#, a violin/viola in many ways. I'm tired of alto saxophones copying everything french horns do. Clarinets and Flutes are fighting for their lives on nearly every piece they have, and then saxophones have some "1 + 2 bum bum bum 4 bum" type rhythm.

[@coreyhoeben6446]

Most times, when this sort of orchestration is utilized by a composer, it is to maintain the integrity of the ensemble sonority and balance between the melodic/moving lines and the accompaniment parts. While, in more difficult literature, what you are describing is exactly what happens, in less complex compositions the tutti sounds of the, primarily, alto voices need to be reinforced as most of this literature is played by students or less experienced musicians. Ideally, all instruments have unique moments and add their timbre and idiosyncracies into the ensemble sound. However, to give alto saxophones their own part just because they are their own instrument would not necessarily be the best choice in compositional strategies for a piece such as this. Put simply, if every instrument got their own unique part in every piece of music all the time, none of the music would make sense. We have to have solos, tutti sections, and individual moving lines occuring simultaneously and ever-changingly to achieve complex and interesting melodies/sounds and make music interesting to the listener! A recommendation, listen to some Percy Grainger (particularly Shepherds Hey and Lincolnshire Posy) Grainger is well known for favoring saxophone and these are masterwork pieces for concert band. I think you’ll enjoy them! I hope this helped explain/understand why alto saxophones might double French Horn parts in certain pieces. Let me know if you like those pieces I recommended!

[@WitchKing-Of-Angmar]

@@coreyhoeben6446 Oh don't worry, I've heard thousands of pieces that acquire a more distinct, well played in sound for the alto...just, not enough and not usually passed the 1980s. My main problem is having the Altos follow the role of a french horn, and not follow the phrasing of another instrument more similarly related like an oboe or 2nd clarinet part, while still have different chord changes. It can be simple, and beautiful. Not everything simple needs to be uncreative and taxing for every player that waited an entire 4 months for their next song list, and got this as one of their songs. I have heard a band that could barely keep together on a basic fundamental rhythm chart such as kings glory from 1520 I believe it was...and by the end of the year they felt that this group was ready for some truly impressive pieces to add to their registry. We gave them 4 charts, esprit de corps (a 4/5), a (4) piece entitled Symphony number 3 (Fiesta , glad I remembered that one; twas..4 years ago that we played these), then there was a piece that I believe might have been french and was very difficult, and finally the 1958 Symphony 3 by Vittorio Giannini. I strictly mentioned the violin when I was describing the role it should have, because I don't want it to be SO unique that it becomes it's own part and possibly clashes with the chords or melody.