Editing Marcel Mule (section)

== In the ''Garde républicaine'' ==

[[World War I|The First World War]] brought Marcel to Paris to serve with the Fifth Infantry. It was there that he returned to music, playing in the regiment's military band in 1921. It was also during his time in Paris that he continued his music studies in [[harmony]], piano and violin.

It wasn't until he concluded his military service that Marcel's musical career took off. In 1923, he completed an exam to become a member of the [[Republican Guard (France)|Garde républicaine]]'s band, La Musique de la Garde Républicaine. It provided a regular income for him. He became known for his beautiful sound, and became the saxophone soloist in the Garde, which caused him to be asked to play in concerts with orchestras and also in the orchestra of the [[Opéra-Comique]] (although almost exclusively for [[Jules Massenet|Massenet]]'s ''[[Werther]]'', as this was the only opera in the repertoire that called for an orchestral saxophone). As Mule admits, in that time people liked his sound, though he played as other people did at that time, with a straight interiorised sound. It was during this period that he played frequently with modern dance bands, and where his exposure to American jazz bands, with their treatment of vibrato, inspired him to experiment with and develop his trademark classical saxophone vibrato.

In 1927, Mule formed a [[saxophone quartet]] along with members of the Garde, under the name of Quatuor de la Garde Républicaine. In its earliest stage (it was to last for some 40 years) there was no music for such groups. Mule transcribed the music of classical composers such as [[Isaac Albéniz|Albéniz]] (''Sevilla'' from the ''Suite Española'' Op. 47) and [[Wolfgang Amadeus Mozart|Mozart]]. His new ensemble achieved critical acclaim early on. As a consequence, important composers of the day, including [[Gabriel Pierné]], [[Florent Schmitt]] and [[Alexander Glazunov]], contributed their own works to an ever-expanding repertoire for the instrument group. This influx of exciting new material proved essential for the establishment of the saxophone quartet as a viable, sustainable ensemble type.