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Yeah, if you didn't have a good baritone saxophonist, those higher notes would be murder. As far as the high notes in the soprano, I see nothing wrong with them. Since soprano saxophone is usually attempted after a fair degree of skill is acquired on alto and I've seen alto all the way up to F# three lines above the staff in highschool repretoire, those upper notes should be no big problem.
I did NOT like how it ended. The last chord was just too bland, that perfect fifth. The chord that I felt the ending was yearning for was dissonant, and was actually this (written pitches, not concert pitches):
S: Low B#
A: Top space E#
T: Low E#
B: Low E#
That's a 9th with a fifth, with alto covering the tonic on top, and soprano softly providing the dissonance that the piece deserves in the middle.
Measures 24-25 are fine, but that's one whacked-out climax. If I was the baritone saxophone player playing the rhythm after that though, I would probably omit one of the measures, so the accelerando is more drastic, I think it's too gradual, spanned over one too many measures.
Measures 45-47 are great, one of my favorite parts. Again, on a similar note, the solo right after this climax, this time the soprano sax, is horrible in the midi. I would take a lot of liberty with the tempo there, and played it very whimsically, maybe started a tad slow, and very quickly built up to a very fast tempo, and gradually brought it back down to A Tempo.
Very interesting piece you got hear. The midi makes it sound like crap, but a live performance would actually be very interesting, especially to hear how the performers would interpret it. Some cool sounds going on.
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