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

ix pitch between tonalities. Same two chords introduced simultaneously in the trumpets and horns at measure 171 with horn 1 providing the pivot pitch. ........................................... 29 Figure 16. Concerto for Alto Saxophone 1 st movement, measures 227-231. Use of motive starting on pitch 5, disguised by rhythmic augmentation and octave displacement. ........ 30 Figure 17. Form of Movement II, Concerto for Alto Saxophone ..................................... 31 Figure 18. Solace chord progression................................................................................. 31 Figure 19. Concerto for Alto Saxophone , 2 nd movement. Measure 4-8 and measure 12. Bb minor chord outlined in first example, Ab major chord suggested in second example. ... 32 Figure 20. Concerto for Alto Saxophone 2 nd movement, measures 22-27. Solace chord progression used: G minor in measure 22, Gb Major in measure 25, Ab major in measure 27....................................................................................................................................... 33 Figure 21. Concerto for Alto Saxophone 2 nd movement, measures 77-79. Entrance of saxophone section imitating soloist line. .......................................................................... 35 Figure 22. Concerto for Alto Saxophone 2 nd movement, measure 150 and 3 rd movement, measure 3. Rhythmic augmentation of 3 rd movement motive used in 2 nd movement. ..... 37 Figure 23. Concerto for Alto Saxophone 2 nd movement. Motive transferred between voices as pivot pitch transfers line to next voice. ............................................................. 37 Figure 24. Form Movement III, Concerto for Alto Saxophone ........................................ 39 Figure 25. Concerto for Alto Saxophone 3 rd movement, measure 3 and 4. Creston motive as introduced by alto saxophone soloist............................................................................ 39 Figure 26. Concerto for Alto Saxophone 3 rd movement, measures 5 and 6. Creston motive with fifth pitch raised a half step....................................................................................... 40 Figure 27. Concerto for Alto Saxophone 3 rd movement, measures 15-17. Use of modified fifth pitch of Creston motive as pivot pitch material. ....................................................... 40 Figure 28. Concerto for Alto Saxophone 3 rd movement, measure 19. Creston motive material used as walking bass line. ................................................................................... 41 Figure 29. Concerto for Alto Saxophone 3 rd movement, measures 25-30. Use of syncopation to disguise Creston motive under soloist line. .............................................. 41 Figure 30. Concerto for Alto Saxophone 3 rd movement, measures 60-65. Use of sudden rhythmic augmentation of motive at measure 62 in brass. ............................................... 42 Figure 31. Concerto for Alto Saxophone 3 rd movement, measures 135-143. Use of motive in trumpets and horns as melodic material. Scale derived from motive used in trombones and euphoniums. ............................................................................................................... 43 Figure 32. Concerto for Alto Saxophone 3 rd movement, measures 191-196. Contrasting uses of Creston motive in different tonalities in oboes and bassoons............................... 44 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. ...................................................................... 45 Figure 34. Concerto for Wind Ensemble 3 rd movement, measures 508-512. ................... 48 Figure 35. Concerto for Alto Saxophone, 1 st movement, measures 134-138. Example of syncopated rhythms over 12/16 time signature. ............................................................... 48 Figure 36. Concerto for Alto Saxophone 1 st movement, measure 63. Creston motive A-G- E-F-Ab. Notice tone cluster, dynamics and muting/stopping........................................... 50