A Madrugada

Price range: $8.95 through $11.95

Subtitle: Tango de Salon, Op. 33
Composer: Eduardo Souto
Arranger: arr. R. Stevens
Ensemble: AATB Saxophone Quartet
Format: Score (4 pp) and AATB parts (2pp ea), 9 x 12
Length: About 2.5 min.
Difficulty: Grade 3 – 3.5 (moderate difficulty)
SKU: 1421-4 Category: Tags: , , ,

First time buyers get 20% off *

A Madrugada

Tango de Salon, Op. 33

Eduardo Souto (1882 - 1942)

AATB Saxophone Quartet

A Madrugada by Eduardo Souto arranged for AATB Saxophone Quartet. ‘A Madrugada’, Brazilian Portuguese for “in the middle of the night or “in the early morning” is a short tango de salon that features exciting tango rhythms and melodies to entertain your performers and audience alike.

With this arrangement of ‘A Madrugada’ you get:

  • AATB Saxophone Quartet Score (8 pages including covers)
  • Parts (4 pages each, including covers):
    • Alto Sax 1
    • Alto Sax 2
    • Tenor Sax
    • Baritone Sax

This arrangement of A Madrugada is for AATB Saxophone Quartet. It is in 2/4 throughout. The tempo is a slowish andante moderato, around q = 68. The key alternates between D minor and F major. It uses an A-B-A-C-A form. Intermediate players should find success with this arrangement.

  • The range for each saxophone part is shown below.
  • Audio and score excerpts are available above.

Saxophone Range for A Madrugada

Small notes indicate optional pitches. Alternatives are provided in the parts.

A Madrugada - Tango de Salon by Eduardo Souto arranged for AATB Saxophone Quartet

About the Composer

Eduardo Souto - Brazilian composer of carnival music and tangos including A MadrugadaEduardo José Alves Souto (São Vicente , April 14 , 1882 – Rio de Janeiro , August 18 , 1942), better known simply as Eduardo Souto, was a Brazilian pianist, composer, and conductor. Along with his musical accomplishments, he must be regarded as a historic figure of the Carnival culture of Brazil. Souto, together, with Sinhô, was responsible for popularizing the genre ‘marchinha de carnaval’, 20 years after the seminal “Ô Abre Alas” (Chiquinha Gonzaga). Souto owned a music publishing firm that released many of the most important pieces of the period and he was a pioneer of the usage of Carnival groups (blocos) for the promotion of his songs (usage that would be overtaken, years later, by the radio).


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