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

47 Chapter 6. Conductor Considerations Since this work is built in large part upon the Creston motive, time should be taken to acquaint the ensemble to various versions of the motive. Understanding how the motive is used can help with phrasing, especially with sustained phrases. Recognition of the motive as well can help the woodwinds understand the basis for the technical passages they will encounter, and recognition of the patterns can assist with their ability to digest, practice and execute those passages. It can also be used to acquaint the ensemble with how the motive is extended through pivot pitches to create longer phrases, but stay true to the use of the motive. Movement I An initial consideration should be the time signature at the beginning of the first movement. 12/16 is an unusual time signature, and many musicians may not be familiar with it. 43 Bryant stated he chose the time signature since he needed duple subdivisions, and he felt that 2/4 time written with triplets would have been unwieldy. It was also informed by the same rhythmic texture in the third movement of his Concerto for Wind Ensemble . 44 While that was written in 6/8, the lines here appear as if they were written in 12/16, broken into four subdivisions of three sixteenth notes. 43 Kevin Sedatole. Interview with author. Phone Interview. March 17, 2018. 44 Steven Bryant, e-mail to author, April 16, 2018.