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

57 The challenge with timing in the second movement occurs first at the entrance of the soloist at measure 18. The alto enters alone at this point with a bop-ish line that is played in an entirely different tempo (quarter-note = 126-132). The soloist must be able to play freely at this prescribed tempo, without any change from the ensemble. Considerations for the saxophonist specifically in these moments will be given in a later chapter. However, at the second entrance, the double bass enters in time with the soloist, while the piano continues at the initial pulse of half-note = 45. The saxophonist and bassist will need to work together to ensure their ensemble outside of the directed feel for the rest of the group. Figure 40. Concerto for Alto Saxophone 2 nd movement, measures 18-19. Bebop style line in the solo alto saxophone part. In measure 22, Bryant uses another mute effect. Trumpets and trombones are both directed over time to play with harmon mute with stem in, from closed to open to closed over the course of a directed period of time. Trombones must do this while also performing a glissando over the same period of time. Again, for the effect to work as intended, care needs to be taken to ensure that the movement is consistent over the full duration of the note, beginning immediately from the start to completing fully just before