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

35 In addition, the solo line in measures 118-132 is a transcription of music Lulloff improvised while working with Bryant that day. Bryant manipulated the material and rhythmically augmented it, pulling it largely out of the context that it was originally performed in (the tempo of the third movement). Measure 41 marks a new iteration of the Solace chord progression, but this time beginning up a half step on Ab minor. It returns to begin again on G minor in measure 58, underneath the first slow music entrance from the soloist in this movement. Measure 69 provides another bop-ish run for the soloist and bass, but this time without the piano accompaniment in time. This time, the whole ensemble is together at the faster tempo, though it is not until measure 77 that the saxophone section starts to join the soloist with accompanying lines that are similar to the solo line. Figure 21. Concerto for Alto Saxophone 2 nd movement, measures 77-79. Entrance of saxophone section imitating soloist line. After a fermata on a unison Db, the ensemble returns to half-note = 45. The Solace chord progression begins again, this time in Bb minor, and the first horn begins a line built from