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

viii List of Figures Figure 1. Example of the use of pivot pitch between versions of the motive contained within different tonalities. ................................................................................................... 6 Figure 2. Program from world premiere of Steven Bryant’s Concerto for Alto Saxophone ........................................................................................................................................... 17 Figure 3. Form of Movement I, Concerto for Alto Saxophone ......................................... 18 Figure 4. First five notes (concert pitch) of the Creston Sonata for Alto Saxophone, compared with motive used by Steven Brant. .................................................................. 18 Figure 5. Concerto for Alto Saxophone 1 st movement, measures 1-8. Demonstrating use of Creston motive, beginning on pitch three and ascending. ............................................ 19 Figure 6. Concerto for Alto Saxophone 1 st movement, measures 22-27. Demonstration of use of pivot pitches (in parentheses) to move the motive melodically through different tonalities............................................................................................................................ 19 Figure 7. Concerto for Alto Saxophone 1 st movement, measures 35-39. Chord built on two separate tetrads built on the first four notes of the Creston motive with alto saxophone 2 serving as the pivot pitch existing in each tetrad. ........................................ 21 Figure 8. Concerto for Alto Saxophone 1 st movement, measure 63. Chord built from the Creston motive A-G-E-F-Ab. ........................................................................................... 22 Figure 9. Concerto for Alto Saxophone 1 st movement, measures 79-86. Demonstrating use of rhythmic augmentation of motive to create sustained lines underneath soloist. .... 23 Figure 10. Concerto for Alto Saxophone 1 st movement, measures 105-109. Multiple uses of Creston motive as bass line in bassoons as well as melodic material in alto flute and flute 2. ............................................................................................................................... 24 Figure 11. Concerto for Alto Saxophone 1 st movement, measures 116-119. Creston motive used to build chord through staggered entrances.................................................. 25 Figure 12. Concerto for Alto Saxophone 1 st movement, measures 116-123. Concert F provided by first trumpet entrance in measure 120 hides a Bb minor chord within the chord built on Creston motive, chord in measure 123 contains an A major chord, the second chord of the Solace chord progression.................................................................. 26 Figure 13. Concerto for Alto Saxophone 1 st movement, measures 135-136. Chord built from Creston motive in measure 136................................................................................ 27 Figure 14. Concerto for Alto Saxophone 1 st movement, measures 134-138. Use of Creston motive as melodic material underneath the chord provided in the woodwinds in Figure 11. .......................................................................................................................... 27 Figure 15. Concerto for Alto Saxophone 1 st movement, measures 165-172. Creston chord built first in saxophones, then followed by clarinets with alto sax 1 providing the pivot