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

59 section will challenge the performers with maintaining the intensity called for, while also ensuring that intonation is of primary concern since the melody is in unison. 49 As stated earlier, the end of the second movement requires strict time from the bass and piano from measure 171 to the end of the movement. This will be especially important if the soloist wants to stretch the phrasing at moments as well. 50 Patient and precise execution will be incredibly valuable for the end of the 2 nd movement. Movement III The third movement is perhaps the most straight ahead movement in the work. Whereas the first two have manipulated the feeling of the passage of time at various points, the third starts at quarter-note = 136, and keeps that pace for the entirety of the movement. Staggered independent entrances, familiar in the first two movements, are far less common in this movement, with most sections playing tutti passages. Careful attention to articulation and rhythm will need to be made in this movement. Combination articulation marks (legato with accent or staccato with accent) can be found throughout. Aside from standard issues of technique, which will vary between each ensemble that may be performing this work, one of the early challenges is the echo of the stopped horn in reply to the soloist at measure 67. After the soloist begins improvising in measure 74, the first 49 Kevin Sedatole. Interview with author. Phone Interview. March 17, 2018. 50 Ibid.