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

6 first pitch of the motive in a new tonality. In the example below, the Bb is the fourth pitch of the Creston motive beginning on D. It also serves as the first note of the Creston motive starting on Bb. This dual purpose is reflected in the use of the parenthesis around the number, showing its second function. As the line descends, the Gb again serves as both the fourth pitch of the motive starting on Bb, as well as the first pitch of the motive starting on Gb. Figure 1. Example of the use of pivot pitch between versions of the motive contained within different tonalities. In addition to analysis, interviews were conducted with the composer, premiere soloist and conductor and the benefactor who commissioned the work. The guiding questions for these interviews were approved by The Ohio State University Institutional Review Board. The second chapter of this document will focus upon the historical background of the work, including its commissioning and the choices that Bryant made in the beginning of the compositional process. The commissioning of this work was made possible through the generosity of Howard Gourwitz. Howard played tenor saxophone in the Michigan Marching Band under the direction of William D. Revelli from 1966-1969. Howard