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

36 the Creston motive, beginning on pitch 5. This point at measure 100 is the most obvious use of both the Solace chord progression and the Creston motive together in one place. Measure 132 marks the cadenza. The measure contains the directions to “Improvise based on central motive of piece, or use a cadenza available from stevenbryant.com .” A transcription of Joe Lulloff’s cadenza is available on Bryant’s website. This option for the cadenza creates challenges that will later be discussed in the chapter on the saxophone performance considerations. As the ensemble begins to build after the cadenza, a strong declaration of Ab (persistently in the mallet percussion for the next twenty-three measures) and Eb will set a near static harmony for all but a few measures until measure 159. Finally at 160 the mallet percussion change pitch for the first time. During this time, the trumpets and horns play a unison line largely built upon the Creston motive. As is common throughout the work, the Creston motive is obfuscated through the use of octave displacement. The line at measure 150 begins with an augmented version of the motive that begins the third movement. However, the motive is more clearly stated in its native state in measure 155 and again in measure 158.