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

45 chords, the soloist holds an F#, which enharmonically as a Gb, sounds a minor seventh above the Ab root. At measure 210, the soloist joins the horn section as they play a sweeping melody derived from the Creston motive. Bryant told Lulloff he wanted the power of the saxophone soloist to connect with the band at this point. 41 The remainder of the solo is built on sweeping lines and ascending rips, some of which are derived from scales built on the first four notes of the Creston motive. There is a significant amount of effects including growing, flutter-tonguing, an overtone scream and a significant amount of altissimo work. Two 16 th note passages in measure 236 and 237 contain some of the most displaced quotations of the Creston motive, with large octave displacement intervals totally obscuring the contour of the motive. Figure 33. Concerto for Alto Saxophone 3 rd movement, measures 236-241. Final use of Creston motive, disguised by octave displacement and large leaps. Also demonstrating ‘freak out’ scream over measures 237-238. 41 Howard Gourwitz and Joe Lulloff, interview by author, Cincinnati, OH, March 11, 2018.