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

4 Little scholarly research to date has been completed on concerti for saxophone with wind ensemble or band. This is in spite of the fact that Teaching Music through Performance in Band: Solos with Wind Band Accompaniment , published in 2012, lists 148 concerti for just alto saxophone and band. Significant contributions to the repertoire have also been added by notable composers including John Mackey, David Maslanka, Michael Colgrass, and Libby Larsen. Dr. Jeffery Waters wrote on the elements of serialism and tonality in Ross Lee Finney’s Concerto for Alto Saxophone and Orchestra of Wind Instruments . The scope of the project is primarily an analysis of the concerto, and does not provide performance suggestions beyond a comparison of pitch discrepancies between the score and solo part. Dr. Kevin Burns wrote an analysis and performers guide to Karel Husa’s Concerto for Alto Saxophone and Concert Band . Finally, Dr. Christopher Rettie wrote an analysis for performers and conductors on Ingolf Dahl’s Concerto for Alto Saxophone and Wind Orchestra . Analysis of saxophone concerti otherwise have been from the orchestral repertoire. Methodology Bryant used three primary musical building blocks for the Concerto for Alto Saxophone . Foremost is a motive derived from the first five notes of the saxophone part of Paul Creston’s Sonata for Alto Saxophone . Bryant also borrowed a chord progression he had previously used in his work Solace . Finally, transcriptions of improvisations from a