Concertino for Tenor Saxophone, Strings & Winds: Piano Reduction & Solo Part

Mintzer crafts a soloist's showcase that refuses to choose between worlds. The first two movements give your saxophonist room to sing lyrically, while the third movement demands real chops and musical maturity over changes. The flexible instrumentation means you can perform this with a full orchestral setup or scale down to chamber forces, making it genuinely adaptable to your ensemble resources.

The first movement flows with the ease of a classical scherzo, but one that sways a little. The second movement is introspective and unhurried, inviting the saxophonist to explore a warm, human sound. By the third movement, the energy shifts into something fleet and rhythmically alive, with modal colors that feel both contemporary and timeless.

Tenor saxophonists with solid technical facility and an interest in both classical and jazz vocabularies. This is ideal for a soloist preparing for regional or state competitions where they want to showcase range across contrasting styles. It also works well for music programs seeking a featured solo that bridges ensemble and jazz contexts.

• In the lento, shape long phrases with a warm, vocal tone quality. Mintzer writes in a lyrical vein here, so resist the urge to rush. Let the strings breathe with you.
• Prepare the improvisation section of the third movement by studying the modal structure beforehand. Practice comping changes and finding melodic shapes that complement rather than compete with the accompaniment.
• The groove elements throughout require a relaxed, grounded rhythmic feel. Lock the pulse with your accompanying ensemble early in rehearsal so the soloist can trust the foundation.
• Balance projection in the faster sections without losing clarity of articulation. The orchestration is lean enough that the saxophone can cut through, but clarity always beats volume.

Feature this at a spring concert pairing it with classical orchestral repertoire; the Concertino sits comfortably between a traditional concerto and contemporary chamber music. It also serves well as a statement piece in a jazz-inflected concert, proving that a soloist with jazz sensibilities can command classical forms. For competitions, it gives adjudicators a clear window into musicianship, technique, and stylistic understanding all at once.

• Lyrical phrasing and tone control across a range of registers
• Improvisation over modal harmonic structures
• Stylistic flexibility: switching convincingly between classical and groove-oriented idioms
• Ensemble listening and rhythmic lock with a full accompaniment
• Virtuosic articulation and fingerwork under tempo