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

60 trumpet (with harmon mute) takes over the role of echoing the stopped horns. The two do not line up until measure 89. Primary concern will be intonation between the two muted instruments. Since some of the entrances are syncopated, and others are on the beat, there can be some challenges in getting the overall effect correct as well. There is a sudden shift in character at measure 148. This section, although still highly technical, especially for the woodwinds, should maintain a lighter character until arriving to measure 188. Articulations should be crisp and light, and the dynamic highpoint of this section is the forte that occurs at measure 186. As more woodwinds get added to the texture, maintaining as light and playful sound as possible will be important to the execution of this section. Measure 200 to the end is the exact opposite of what immediately preceded it. Fortissimo with sfortzando attacks remain for the final 41 measures of the work. Meter changes often through to the end of the movement, with eighth note chords occurring on and off the beat. Sedatole recalled that it required several runs before the ensemble felt comfortable with it, as it changes just enough to keep everyone off balance. 51 Care needs to be taken with the articulations in this section as well. If two eighths are occurring next to each other, as in measure 203, the first is marked legato and the second is marked marcato. It is also important to note that in measure 239, while the majority of the ensemble is playing a marcato eighth note, the trombones and saxophones alone play a 51 Kevin Sedatole. Interview with author. Phone Interview. March 17, 2018.