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

30 on the next bar. This half-step movement, followed by octave displacement between pitches 2 and 3 further obscures the motive, but the upward motion creates a dramatic ascension toward the climax. Figure 16. Concerto for Alto Saxophone 1 st movement, measures 227-231. Use of motive starting on pitch 5, disguised by rhythmic augmentation and octave displacement. At measure 232, Bryant switches from melodic to harmonic utilization of the motive, and lowers the motive a half-step. This motive is spelled A-G-E-F-Ab. In measure 235, Bryant drops the A (pitch one) of the motive and uses the remaining pitches to create a dissonant chord that builds tension before bringing the ensemble back to concert A. The pitch is stated first by the soloist in bar 236, then echoed by the full brass section, low reeds, double bass, piano and timpani in measure 237. The intensity settles and the movement ends similar to how it began, with the soloist trilling on concert A, until it slows to a final fermata.