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

32 The composer Eric Whitacre liked the chord progression from Solace and told Bryant that he should reuse the material again. 35 Bryant was drawn to the chord progression because he liked the sound of the third of the minor chord remaining as the common tone as it moves to a major chord whose root is a half-step lower. 36 He also cited its chromatic motion as being significant for its ability to work in conjunction with the Creston motive. 37 The original chord progression begins on a Bb minor chord. Here, at the beginning of the second movement, it is transposed to G minor. Its first iteration is skeletal in nature, only forming some of the notes of the chord at a time. For instance, at measures 4 and 5 (shown below) the D appears alone against the Bb in the treble voice of the piano. In measure 5, Bb and G are both intoned, without the D. In measure 12, Ab major is outlined with the Ab and C present in the bass. Figure 19. Concerto for Alto Saxophone , 2 nd movement. Measure 4-8 and measure 12. Bb minor chord outlined in first example, Ab major chord suggested in second example. 35 Steven Bryant, “Concerto for Alto Saxophone,” last modified May 1, 2014. Accessed March 15, 2018. https://www.stevenbryant.com/news/concerto-for-alto-saxophone. 36 Consideration to just intonation should be given to the chord progression where appropriate. It is important to remember that in just intonation, the third of a minor chord needs to be raised 16 cents, while the same note, serving as a third of a major chord, should be lowered 14 cents. While the note name is the same, the exact pitch is not. 37 Steven Bryant, interview by author, phone interview, March 8, 2018.