A Conductor's and Performer's Guide to Steven Bryant's Concerto for Alto
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A Conductor’s and Performer’s Guide to Steven Bryant’s Concerto for Alto Saxophone D.M.A Document Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Chester James Jenkins, M.M., B.A. Graduate Program in Music The Ohio State University 2018 D.M.A. Document Committee Prof. Katherine Borst Jones, Advisor Dr. Daryl Kinney Dr. Russel Mikkelson Prof. Karen Pierson 1 Copyrighted by Chester James Jenkins 2018 2 Abstract The purpose of this work is to examine the history and compositional elements of Steven Bryant’s Concerto for Alto Saxophone and Wind Ensemble, as well as to provide analysis and performance considerations for the work. The personal and idiosyncratic nature of the composition is important to understand for an effective performance of the concerto. Bryant drew upon limited material for creation of the composition, and an understanding of these elements will help provide a clearer conception of the work for both the performer and conductor. A realization of these factors have been derived from an analysis of the concerto, as well as through interviews conducted with those involved with the commission and premiere performance. ii Dedication To Heather, without your support, I would not have even started this venture, let alone completed it. iii Acknowledgments This document is the obvious culmination of many years of practice and hard work, and I am in the debt of many mentors who have inspired me and spurred me on. Those who have taught me first and foremost how to play the saxophone through the years have played a significant role in my life and growth as a musician and as a person. Thanks to Tim Volstad who got me started, Jerry Rodgers who fixed my many issues, Harold Ashenfelter who set me free, Matt James who helped me better understand style, James Hill who taught me history, and Michael Torres who taught me to think ever longer. I also owe a debt to my conducting teachers. First and foremost, the man who gave me stand time and an opportunity, Michael DiCuirci. Though you are a Michigan man, this Ohio State student owes you an incredible debt. To John Climer, who graciously gave me some stand time with the Persichetti Symphony, and sealed my desire to be a conductor right then and there. To Scott Jones for his valuable help and assistance in preparing me to do the nitty gritty work of this job. To Russ Mikkelson, who graciously accepted me into his studio, though busy with a full schedule. I owe you a great debt for taking me in, and helping me become a far better conductor than the day I entered. iv To my committee. I have been blessed with exceptional teachers, mentors and examples of professionalism here at The Ohio State. You have all taught me valuable lessons both inside and outside of the classroom. I am fortunate to have spent significant time with all of you through the course of my doctoral studies, and have experienced profound growth as a musician during my time here. Thank you for your contributions to my musical development. To Joe Lulloff, Howard Gourwitz, Steven Bryant and Kevin Sedatole, who all took time out of their busy schedules to speak with me. This document would obviously not exist without their help and participation. Thank you again for the generosity of your time. Thank you Steven Bryant for granting me permission to use examples of your music throughout this document. Finally, I owe many thanks to my wife, Heather, for her continued support. Our first daughter was born at the beginning of this venture, and the second right before the end. Our timing could have probably been better, but there is no one I would want to survive this experience with more than you. v Vita 1989-1993……………………………………...........Anchorage Christian School, AK 1993-1997……………………………………….......B.A. Cedarville University, OH 1997-1999…………………………………………...Graduate Teaching Assistant, Ohio University, OH 2000-2017…………………………………………...Adjunct Professor of Saxophone, Cedarville University, OH 2006-2008…………………………………………...Adjunct Professor of Saxophone, Wittenberg University, OH 2008-2010…………………………………………...Adjunct Professor of Saxophone, Ohio Christian University, OH 2013…...…………………………………………….M.M. Ohio University, OH 2014-2018…………………………………………...D.M.A. The Ohio State University, OH 2017-Present………………………………………...Assistant Professor of Music, Cedarville University, OH Fields of Study Major Field: Music vi Table of Contents Abstract ............................................................................................................................... ii Dedication .......................................................................................................................... iii Acknowledgments.............................................................................................................. iv Vita ..................................................................................................................................... vi List of Figures .................................................................................................................. viii Chapter 1. Introduction ....................................................................................................... 1 Chapter 2. History ............................................................................................................. 10 Chapter 3. Movement I ..................................................................................................... 18 Chapter 4. Movement II .................................................................................................... 31 Chapter 5. Movement III................................................................................................... 39 Chapter 6. Conductor Considerations ............................................................................... 47 Chapter 7. Performer’s Considerations ............................................................................. 63 Chapter 8. Conclusion ....................................................................................................... 76 Bibliography ..................................................................................................................... 82 Appendix A. Interview with Howard Gourwitz and Joe Lulloff ..................................... 85 Appendix B. Interview with Steven Bryant .................................................................... 113 Appendix C. Interview with Kevin Sedatole .................................................................. 125 Appendix D. Program from World Premiere .................................................................. 129 vii 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 1st movement, measures 1-8. Demonstrating use of Creston motive, beginning on pitch three and ascending. ............................................ 19 Figure 6. Concerto for Alto Saxophone 1st 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 1st 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 1st movement, measure 63. Chord built from the Creston motive A-G-E-F-Ab. ........................................................................................... 22 Figure 9. Concerto for Alto Saxophone 1st movement, measures 79-86. Demonstrating use of rhythmic augmentation of motive to create sustained lines underneath soloist. .... 23 Figure 10. Concerto for Alto Saxophone 1st 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 1st movement, measures 116-119. Creston motive used to build chord through staggered entrances. ................................................. 25 Figure 12. Concerto for Alto Saxophone 1st 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 1st movement,