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

67 Figure 45. Concerto for Alto Saxophone 3 rd movement, measures 33-38. Doubling of solo line at various points by flute 1 and 2 and clarinet 1. In the first movement, care should be taken with the opening solo passage. The technique required is very fluid and playable. It is then easy, with mostly stepwise and chromatic movement, to rush this passage, or to not give the full length to the trills that occur in between flurry of notes. There is a lot of interplay between the soloist, and the saxophone section, as well as the flutes and oboe. The soloist must know when to become an ensemble member and hand off a line. This occurs, for instance, in measure 40 in the first movement, where the line started by the alto saxophone transfers to the piccolo. The soloist often interacts with the saxophone section throughout the work, which is a technique favored by the composer. 55 Rhythmic challenges are also numerous in the opening movement. As 12/16 time is generally an unfamiliar time signature for most, there are many places in the first movement that will require specific attention. Examples would include measures 48-52, 55 Steven Bryant, interview by author, phone interview, March 8, 2018.