I agree. In that case, the A and C are both passing tones.

@JoshuaTaylor, you are right. In most music that has multiple voices on a staff, unless no voice at all plays at a particular point, most of the rests are left out. Otherwise the music would be so cluttered as to be unreadable. The Minuet in G by Bach the OP is working on is a beginner piece, so I wonder if the rest is left in to help explain the idea of voices to a beginning player. Otherwise, it would look to a beginner like there are 5 beats in that measure.

What an interesting progression. There is a C# diminished which seems to resolve up to the D, as expected, but with a Bb in the chord. This makes it seem like a V six-four, but an alternate thought is that it is a D minor chord and the Bb could be an elongated suspension resolving down to the A. I am not saying that this is a legitimate analysis, but I do find it interesting how many different ways a set of notes can be explained.

@ScottWallace, yes that is true about the second register (also clarinet.) But the standard fingering charts are based on the design of the instrument to easily produce those pitches. The extended range needs advanced technique of special fingerings and embouchure to achieve and may not be able to be produced on every saxophone. They are not built in to the design of the instrument, but are found by playing around with harmonics (thus why I have only always heard them called that). This the reason for so many alternate "possible" fingerings and why they cannot all be played on all saxophones.

@ScottWallace, without harmonics? I do know harmonics can be used to extend the range, but kept things simple for the OP who has only been playing a couple of years.

It is unfortunate "ground bass" connotes Renaissance and Baroque music since so many different varieties of music especially from around the world use ostinato-like patterns. From a western music standpoint, you might also want to look up passacaglia and chaconne. Though these are old techniques, many have updated them with a modern approach.

Yes, that little bis key is why I have not played the 1 & 1 in forever.

@CarlWitthoft, I am not going to read all the posts under "rock beat patterns" to try and get what you are pointing out, so please explain. Rock accents 2 & 4, thus the backbeat. That doesn't change the fact that 1 & 3 are normally the strong beats. It just means rock music provides a type of syncopation. I dread when the audience starts clapping along to songs because so many times they start clapping on ! & 3 when it should be 2 & 4, and threaten to turn the time around. The natural proclivity is to hear 1 & 3 as strong.

@ggcg, I do think it is location-based. In the New York handbook (NYSSMA catalog) that has all the music levels for all-state and solo/ensemble competitions, the sight-reading and scale/arpeggio requirements are all spelled out. My state requires scales & sight-reading for all-state competition but during the solo/ensemble adjudication, only the performance of a piece is counted. That is unfortunate since some extremely skilled young musicians might excel in their sight-reading and theory but have an off-day in their performance, beaten out by someone who performs well and knows nothing else.