My association with the National Saxophone Choir goes back to their 2006 composition competition, which I won with the work Introduction & Riffs, a 5-minute piece that was essentially jazz-funk in style but which incorporated a central fugue that showcased the extreme high and low instruments of the sax family. Subsequently, when the NSC's 2009 7 Wonders project was conceived - a joint work themed on the 'new seven wonders of the world' with seven movements written by seven different composers - I was asked to compose Colosseum, the opening movement.

This association was the beginning of a series of new works; next came the comical Sax Circus, a short, humorous work for the SF8 octet, where the concept was to write something fun and flashy that allows each instrument of the group (from the tiny soprillo down to the monstrous contrabass) to have a solo moment. Therefore each of the episodes representing acrobats, lions, tightrope walkers and so on feature a different player.

Quattuor Anguli Terrae (translated as 4 Corners of the Earth), is an atmospheric work and was written in response to the choir's regular use of the entire performance space. It splits the ensemble into 4 distinct groups that are placed in different locations giving a real 'surround sound' experience for the audience. A work for 2 soloists with sax choir is nearing completion at the time of writing this article, and, in addition, Simon's Mangrove Groove, which was commissioned by a separate group, has become a regular in the NSC's repertoire and has also been recorded by them.

Being the NSC's Composer-in-Residence has enabled me to provide the group with tailored music to fit their unique requirements, both in terms of the instrumentation that they have and also the style of entertainment that they strive for. The extended period of time and therefore scope to write numerous works has enabled me to do far more than would have been possible with just a single commission and therefore benefits the NSC with a range of repertoire with different musical styles, featuring different instruments, and experimenting with physical performance space and acoustics. It also gives the chance for me to learn more about the instruments and build a better relationship with all concerned.

In return I have received numerous high-standard performances of my work, which have been across the UK, into Europe, and even as far as Bangkok for the World Sax Congress in 2009, probably the highest profile event in this niche market. The prestige of the position and use of my compositions in places like St. John's Smith Square, CBSO centre and, at an international level, at the WSC are a strong addition to my C.V. and demonstrate the group's belief in my work, which in turn gives greater credibility and reassurance to any other commissioning ensemble. Similarly, the multiple performances have made my music known to a wide audience, as have the related news items in the musical press.

I am very grateful for the fruitful collaboration that the NSC offered me and would like to take this opportunity to thank all concerned for their efforts over the past few years, whether in an organisational or performing capacity. I hope that it is the kind of venture that other composers and performing groups would seek to adopt, since it provides multiple benefits on both sides.

Roger May, Summer 2011
www.rogermay.co.uk