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

37 Figure 22. Concerto for Alto Saxophone 2 nd movement, measure 150 and 3 rd movement, measure 3. Rhythmic augmentation of 3 rd movement motive used in 2 nd movement. At measure 162, Bryant uses an interesting effect against the alto soloist sustaining a five measure long B. Here, in the flute line, Bryant begins the motive with pitches 1, 2, 3 and 4. But here pitch 4 serves as pitch 1 of the next iteration of the motive which is stated by flute 2, with pitches 2, 3 and 4, which serves as pitch 1 for the next iteration played by flute three, at another pitch level. Figure 23. Concerto for Alto Saxophone 2 nd movement. Motive transferred between voices as pivot pitch transfers line to next voice. After the Creston motive is finally stated again by the alto saxophone, the Solace chord progression begins at measure 171, beginning in G minor, which is the same tonality as the beginning. At measure 193, the chord progression is brought back in its original tonality, beginning in Bb minor. The saxophone soloist plays variations of the Creston