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

49 first entrance of the ensemble saxophones in measures 19 through 21 is an example of an issue encountered quite often in the first movement. Their entrances are spaced apart, and end at different points as well. Ensemble musicians need to understand, especially in the first movement, the independence of their parts and that within sections they do not often play together even though their lines may be exactly the same. Another early example of this in the first movement occurs in measures 43-51 as a line is transferred through the saxophones and clarinets. This also demonstrates another technique that is used especially through the first two movements of the work, the decrescendo to niente. Good tonal and intonation control through to the end of the line is important, especially as the sections move to that dynamic together. Also, entrances here are marked at pianississimo. Obviously the lines need to be heard, but the importance is that they lay underneath the soloist through this opening music. Measure 63 demonstrates another opportunity. The first chord intoned by the brass is marked at pianississimo, with horns playing stopped and trombones with straight mutes. This chord is built from the Creston motive, which will create a tone cluster. The horns play A-G-E-F over the trombones Ab. Tuning the pairs of horns that play in thirds first, and then once secure on their intonation, adding the trombones in octaves on the Ab will help prepare for this first entrance. As the Creston motive is used harmonically in this way throughout the entirety of this work, making sure performers know who they are in playing with will help with the execution of these harmonies.