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

41 The double bass begins a walking bass line in measure 19, based on the D-C-A-A#-C# version of the Creston motive, supporting continued development of the version of the Creston motive introduced at the beginning of the movement. Figure 28. Concerto for Alto Saxophone 3 rd movement, measure 19. Creston motive material used as walking bass line. After the heavy 16 th note based motion that begins the movement, measure 25 begins to introduce more rhythmic variety and syncopation with lines in the brass built upon the Creston motive. Figure 29. Concerto for Alto Saxophone 3 rd movement, measures 25-30. Use of syncopation to disguise Creston motive under soloist line. The third movement to this point is built upon broken variations of the Creston motive, through both octave displacement, and through rhythmic syncopation. It makes the quarter note legato treatment of the motive first heard at measure 53, all the more stark.