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

43 At measure 135, the music rhythmically slows down in the winds as the soloist rests. While trumpets and horns play the Creston motive, the low brass and low reeds play an ascending scale that is built upon the Creston motive, reworked to stepwise pattern. Figure 31. Concerto for Alto Saxophone 3 rd movement, measures 135-143. Use of motive in trumpets and horns as melodic material. Scale derived from motive used in trombones and euphoniums. At measure 148 the texture dramatically lightens, and the soloist begins to interact with the flutes and oboes, and at times is doubled at the octave by the piccolo. As this section progresses, it grows into an almost humoresque conversation back and forth between the soloist, chromatic lines in the woodwinds, and punchy syncopated lines by stopped and muted brass. The passage is accentuated by the grossness of the soloist growling in the altissimo register, against the generally light and bright timbre of the ensemble. At measure 188, the sound begins to change again. The solo line is punctuated by crescendi ending with a sfortzando in the trumpets. Three measures later the double bass