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

56 definitely the clear feel of the movement at the beginning, conducting at the quarter-note speed is a preferable option, and easier to execute as well as to help keep the ensemble together on their various entrances. The piano and bass are both key to the second movement. In an interview with Dr. Kevin Sedatole, he commented that the piano part is not difficult, “…until you have to sit down and play it.” 46 While it looks incredibly simple, the part is tedious. One must have a pianist with good time and touch 47 in order to consistently execute the repeated Bb half notes consistently. It is in essence a piano solo for the first seventeen measures of the second movement, and that establishment of time and near glacial feeling of movement is important to creating the character of the beginning of the movement. It will make the sudden entrance of the soloist at measure 18 all the more provocative. The bassist needs to be comfortable within a jazz setting, as they will be performing a walking bass line. They also need to know what the alto saxophone soloist is going to do, and have an excellent feel for time in general. The end of the second movement requires synchronization between the bass and piano, who alone accompany the soloist for the last thirty-four measures. 48 The success of the jazz sections, improvised and written, will be highly dependent upon a solid bassist. 46 Kevin Sedatole. Interview with author. Phone Interview. March 17, 2018. 47 Ibid. 48 Ibid.