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

66 Figure 44. Excerpt of Lulloff’s cadenza from the recording by the Michigan State Wind Symphony, as transcribed by his student, Julian Velasco. It is also important to note that while some of the language and lines may feel very bop- ish, the soloist has to understand that the ensemble is doubling their part in the midst of the soloist phrase, similar to the section in the third movement from measures 34-38, where the soloist is first doubled by two flutes, then flute and clarinet. Thus it will be an important consideration for the phrasing decisions made by the soloist. This is especially true of the line in measure 37 and 38. This line, interpreted in standard jazz performance practice, would likely be subject to the accenting and ghosting of notes. But as it is doubled by the clarinet and flute, a bebop influenced interpretation of the line could create issues with unbalanced phrasing between performers not familiar with jazz phrasing practices.