A Conductor’s and Performer’s Guide to Steven Bryant’s Concerto for Alto Saxophone - Chester Jenkins

14 called Bryant to offer that work as inspiration as well. Bryant replied that he was already working with that idea for the first movement. 25 In January of 2014, 26 Lulloff flew down to North Carolina to work with Bryant on the Concerto. 27 During a session together on a Saturday morning, Bryant gave Lulloff some of the material from the third movement, and asked him to improvise over it, which Bryant recorded. 28 During the session, Bryant ran additional ideas past Lulloff, including the rips late in the third movement, and how high into the altissimo register the solo part should ascend. 29 When discussing the end of the concerto, Lulloff suggested the ‘freak- out’ technique that appears in the third movement, measures 238-239. 30 After Lulloff left, Bryant continued to work with the material he had recorded from Lulloff’s visit. The second movement was the last movement to be created, and Bryant found two interesting ways to include Lulloff’s improvisations in this movement. First, he transcribed some of Lulloff’s improvisations and placed them right in the middle of the slow music, altering the musical world that had been set up at the beginning of the movement. Amidst music happening at half-note = 45 (which is the pulse you feel), the saxophone soloist enters totally out of time at quarter-note = 132-136, all while the 25 Howard Gourwitz and Joe Lulloff, interview by author, Cincinnati, OH, March 11, 2018. 26 Steven Bryant, “Concerto for Alto Saxophone,” last modified May 1, 2014. Accessed March 15, 2018. https://www.stevenbryant.com/news/concerto-for-alto-saxophone. 27 Ibid. 28 Steven Bryant, interview by author, phone interview, March 8, 2018. 29 Ibid. 30 Ibid.