Prestidigitation (Alto Saxophone Solo with Band): Concert Band Conductor Score & Parts
By Robert Buckley
Grade: 5
Item: 35-PK00342921
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Description
"Prestidigitation" means sleight of hand or nimble fingers, and describes the alto saxophone soloist in this innovative and compelling work. The triplet rhythms, walking bass line and call-and-response style blend together to give this piece a playful, jazzy flavor. Written for virtuoso saxophonist Dr. Julia Nolan, this composition is a tour-de-force for both the soloist and the ensemble - a powerful addition to the solo saxophone repertoire! Prestidigitation was co-commissioned by the West Vancouver Youth Band, the Pacific Symphonic Wind Ensemble and the Sea To Sky Wind Ensemble. Dur: 5:45
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Additional Details
Publisher:
Hal Leonard
SKU:
35-PK00342921
More about this title
About the Composer: Robert Buckley
Robert Buckley is a composer whose work bridges contemporary classical writing with accessible ensemble music. His commissions from respected wind ensembles across North America reflect his ability to craft engaging pieces that challenge skilled musicians while remaining performable by serious community and school groups.
Why we love this
Buckley gives the alto saxophone genuine virtuosity to display without making the band feel like accompaniment. The call-and-response writing between soloist and ensemble creates natural phrasing opportunities, and the triplet-driven rhythms give even younger bands something concrete to lock onto rhythmically.
What to expect
Playful sophistication with nimble fingers darting through triplet figures while the ensemble swings behind. The piece has the energy of a magic trick that delights both performer and audience, balancing technical precision with genuine swing and humor.
Who it's for
Directors programming a jazz-influenced showpiece for an accomplished alto saxophonist and a Grade 5 band with solid rhythmic foundation. This works equally well for youth ensembles and high school groups looking for a modern solo feature that doesn't require a drum set or rhythm section.
How to get the most out of it
- Keep the walking bass line conversational rather than metronomic; it breathes when the saxophonist breathes, especially during the solo passages.
- Balance the call-and-response sections so the band answers the soloist's ideas without overwhelming them. Think of it as a conversation at normal volume, not a shout-down.
- Mark the triplet rhythms clearly in rehearsal since they sit against the prevailing pulse. Have the band tap these subdivisions before playing to internalize the feel.
- Record a rehearsal run-through and listen back to the soloist's articulation choices; jazz phrasing here should sound natural, not mechanical.
How to use it
Perfect for a concert that celebrates solo artistry without relegating the band to background duty. It sits comfortably alongside other contemporary concert band works and makes an excellent anchor for a program section highlighting student soloists. Consider pairing it with less rhythmically complex arrangements to let its syncopation stand out.
Skills your students will build
- Reading and executing triplet rhythms against straight pulse
- Call-and-response phrasing and ensemble interaction
- Accompaniment balance when the band supports a featured soloist
- Jazz articulation and swing feel
- Walking bass line execution and rhythmic independence in the low voices
- Sustained ensemble accompaniment through register changes