A Conductor’s and Performer’s Guide to Steven Bryant’s Concerto for Alto Saxophone - Chester Jenkins

18 Chapter 3. Movement I Figure 3. Form of Movement I, Concerto for Alto Saxophone Bryant’s Concerto for Alto Saxophone is primarily built upon a motive from the opening notes of the Sonata for Alto Saxophone and Piano , Op. 19 by Paul Creston. 34 Figure 4. First five notes (concert pitch) of the Creston Sonata for Alto Saxophone, compared with motive used by Steven Brant. The Creston motive is the central unifying building block of this work, as it is used both melodically and harmonically. As the alto saxophone enters alone for the first 18 measures, the use of the motive begins immediately. Bryant begins the motive on the 3 rd pitch, and the line ascends up to the 1 st pitch, then back down to rest on the 3 rd pitch again essentially inverting the motive. 34 Paul Creston, Sonata Op. 19 for Eb Alto Saxophone and Piano . (Delaware Water Gap, PA: Shawnee Press, Inc., 1945), 2.