John Kinyon's Concert Time Folio: Alto Sax, Alto Clarinet, Alto Horn Book

Kinyon writes with the practical knowledge of someone who spent years in the rehearsal room. These fifteen pieces build logically from one to the next, allowing students to apply technique they've learned without hitting frustration walls. Each arrangement respects the alto voices' range and maintains musical interest across the ensemble, so supporting parts never feel like filler.

These pieces balance accessibility with genuine musicality. You'll find straightforward marches and folk-inspired ballads that appeal to student audiences, along with well-crafted overtures that let younger players experience the architecture of longer forms. The writing sits comfortably in each instrument's range, letting musicians focus on expression rather than survival.

Bands at the intermediate level (grades 2-3) looking for concert literature that offers musical substance without excessive technical complexity. Alto saxophonists, alto clarinetists, and alto horn players benefit equally from these varied arrangements, which provide genuine melodic and harmonic responsibility rather than filler parts.

• Work through the pieces in order to maximize their progressive structure; later pieces assume security with concepts introduced earlier.
• Use the recorded accompaniments (sold separately) to anchor ensemble balance and help students internalize pulse when full band rehearsal time is limited.
• Focus on intonation in the alto section during the first read; these parts sit in a range where pitch clarity makes an immediate difference in blend.
• Mark breath points and phrasing goals before first rehearsal so students understand the musical shape, not just the technical demands.

Program individual pieces throughout the year as your students complete each level of the Basic Training Course (starting around lesson 19), or select a handful for a mid-winter concert that showcases how far the ensemble has progressed. These also work well for community performances and school assemblies where musical appeal matters more than technical showmanship.

• Reading in concert key with consistent rhythmic clarity
• Playing complete musical phrases with attention to breath placement and phrasing contour
• Balancing within a section and supporting ensemble harmony
• Interpreting varied musical styles (march, ballad, overture)
• Progressing through grade levels 2-3 with repertoire that mirrors technique study