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

23 Figure 9. Concerto for Alto Saxophone 1 st movement, measures 79-86. Demonstrating use of rhythmic augmentation of motive to create sustained lines underneath soloist. At measure 102 the bass line, as presented in bassoon 1 and 2, bass clarinet, contrabass clarinet, double bass and piano, sequences pitches 3, 4 and 5 of the Creston motive, with pitch 5 serving also as pitch three of the next sequence. This raises each sequence the distance of a major third, while also increasing the relative pace of the line through rhythmic modulation, increasing the frequency until the full extended motive is stated in the bass voices in measures 107-109. Above the bass line, the flutes and oboes are involved with different variations of the Creston motive, while the soloist works toward the second highest pitch of this movement, as written altissimo Cb.