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

44 and low reeds begin to build tension through an ascending bass line built from the scale created from the Creston motive F#-E-C#-D-F, and the oboes play a melodic line built from the Creston motive A-G-E-F-G#. These long lines contrast the virtuosic music in the solo part. Figure 32. Concerto for Alto Saxophone 3 rd movement, measures 191-196. Contrasting uses of Creston motive in different tonalities in oboes and bassoons. The build-up created from the rising line in the low reeds and double bass pushes to measure 200, where Bryant brings back the Solace chord progression in the eighth note chords that propel the soloist through to the end. The Solace progression starts at measure 223 in F minor, and proceeds to E major and then Gb major. Then Bryant intersperses a chord built on the Creston motive A-G-E-F-Ab, then to Gb major again, the Creston chord again, and finally returning to Gb major again. A new Solace progression begins in G# minor in measure 228 and proceeds four chords into it before restarting on Bb minor in measure 232. B major is hit three times before moving to C minor then back to C major (which could be considered the first two chords of the Solace progression). Measure 240 contains an F dominant chord with both a C and C# present. The final two chords are open fifths built on B and F# followed by Ab and Eb. Through these last two