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

28 As demonstrated in earlier examples, Bryant uses a pivot pitch to connect two separate chords built from the Creston motive. Beginning in measure 162, the baritone saxophone intones pitch 3 of the motive, followed by the tenor with pitch 2, alto saxophone 2 provides pitch 1. Alto saxophone 1 and the alto soloist, are playing what will serve as both pitch 4 of the first sequence D-C-A-Bb, as well as pitch 1 of the next sequence, Bb- Ab-F-Gb. The harmony created by the first sequence begins to be obscured by written out trills as the second motive’s harmony is created in the clarinets. Then, at measure 171, just as the second sequence begins to be obscured similarly by trills, the trumpets and horns play the full version of the harmony, D-C-A-(Bb)-Ab-F-G, with the horn 1 part serving as the link between the two versions.