D AV I D M A S L A N K A

Tone Studies
FOR
A LT O S A X O P H O N E & P I A N O
m u s i c f o r s a x o p h o n e b y d av i d m a s l a n k a

s a x o p h o n e q ua r t e t
Mountain Roads 1997
Recitation Book 2006
Goldberg Variations 2010
Songs for the Coming Day 2012
Peace 2012

saxophone and piano

Sonata for Alto Saxophone and Piano 1988
Sonata for Soprano Saxophone and Piano 1992
Tone Studies for Alto Saxophone and Piano 2009

others
Heaven to Clear When Day Did Close for Tenor Saxophone and String Quartet 1981
Hells Gate for solo Alto, Tenor, and Baritone Saxophones and Wind Ensemble 1997
Concerto for Alto Saxophone and Wind Ensemble 1999
Song Book for Alto Saxophone and Marimba 2000
 TON E ST U DI E S
for Alto Saxophone & Piano
D AV I D M A S L A N K A

Tone Studies
FOR
A LT O S A X O P H O N E & P I A N O

( 2009)

F U LL S C OR E I N C

MASLANKA PRESS

N E W YO R K
Copyright 2012 by Maslanka Press

Version 1.0

All rights reserved. No part of this work may be reproduced in any form
or by any means without permission from the publisher. Individuals who
purchase the music may create a physical or electronic copy for personal
backup or ease of use.

David Maslanka and Maslanka Press are members of the American Society
for Composers, Authors and Publishers (a s c a p). Public performances of
this work must be licensed through a s c a p. See www.ascap.com for more
information.

First published in 2012 by Maslanka Press.

m a sl a n k a pr e s s
420 West Fifty-sixth Street #10
New York City, n y 10019 us a
www.maslankapress.com

This is the initial release of this work. Any errata may be found on this
works page at www.maslankapress.com.

mp-2009.06-ps-1.0

Designed, engraved, and printed in the United States.

Tone Studies was commissioned by Joseph

and Janet Lulloff for their son Jordan.
Contents
Note to the Performers v

No. 1: Jordan (5) 3

No. 2: Credo in unum Deum (430) 7

No. 3: Watch the Night With Me (Part 1) (230) 9

No. 4: Watch the Night With Me (Part 2) (540) 11

No. 5: Wie Bist Du, Seele? (420) 18

No. 6: Whale Story (O Sacred Head Now Wounded) (6) 22

Total Duration: 30
(All timings are approximate)
Note to the Performers
The title Tone Studies says very little about what is actually in
the music. I chose it because each movement offers a large num-
ber of choices about quality of sound, choices that will continue
to unfold over time. Each study is a small and passionate essay
a short story without words.
Four of the six studies make reference to chorale melodies:
No. 1: Christ, Unser Herr, zum Jordan kam
Christ our Lord came to the river Jordan
No. 2: Credo in unum Deum
We believe in one God
No. 5: Wie bist du, Seele
Soul, how have you become so unhappy?
No. 6: O Haupt voll Blut und Wunden
O Sacred Head Now Wounded
The original melodies can all be found in the 371 Four-Part
Chorales by J.S. Bach.
The sixth study has the title Whale Story. I wrote a very brief
story that should be read aloud as part of any performance. It
can be read aloud by the soloist, or by someone other than the
performer. The text is in both the score and part.

dav i d m a s l a n k a

v
 for Jordan Lulloff 3
Tone Studies
for Alto Saxophone and Piano
David Maslanka
(b. 1943)
No. 1: Jordan
long long
q = ca. 54
U U U U U U U
j
no vib. no vib.

{
4
&4 j

p o o p
U U U U U
p
4
&4 w
w w
w w
w w
w w
w
p ( p)
?4 U U U U U
4
w w w w w
P
long
U U
10
U
6 no vib.
-
-


j
& w

{

mf p o p
U U
& w w w w w
w w w w w
? U U
w w w w w
(P)

11 ,slowing U
A bit faster q = ca. 60

45 43 44 45
freely


&

{
w o p

4
U j
& w w
5

4 3 44 4
5
w w
U
? 5
4J 43 44
45

J
w w P ad lib.
(P) 2010 David Maslanka
4
20
44 U U
17

& 45 43 45

{

44 U # U
( p ) 5
& 45 43 # 4



? 5 34 4 U U 5
4 4 &
4

U
- 44 - 45
U
22
5
&4 J J

{

U # # n U ( p)

& 45 J n Jn 44 45 #

J
J
u
5

? #
U U
& 4 44 & 45
# ?

, , 30 ,

U
27 hold
j
4
&
6 44 back

{

pp

j 44 U
46 w# #

(no break)
&

b n #

j
pp

? J b # b 64 b
w 44 bU
w

q. = ca. 92
U U
32 slower slower yet
68

{
&
U U

& n ? 68
4

n U U p
?

68
4



P
 5

&
40

2 j

{


p mf
? 4

mf
?

4


(P)

46 50

&

{
f

?

f
?

P P

&
51

{
2 2

2 2
ff mf
?

4


ff mf
?
4

>
(P) P
P
57 60
-
2
-
2 2 2
&

{


2
f
? b 4

f
?
4
b

b >
(P) P
6
63 slowing

j

&

{
pp b
b# b #
dim.
?

#
4 4
? 7 dim. 9 7 p

# #

>

>
P 70 P
- ,

Slower q = ca. 64
U U
68 slowing a lot

& 44
<q. = q = ca. 72 >
4J 5 44
J J

{
?
p
U U
# #
n 4
2

4 45 n n 44

&
J J

J


U U
# 44 n ?
p (non arp.)
? 54 44
&

(P) * P ad lib.
73
- U
4 j
46 45 46

{
&4

U # U
# n 6 pp 5

j 6
& 44 4 #
4

u
?4 # U U
64 # ? 45
b # b
6
4 & J 4
u
, , slower
4
80
U U U
hold slower

{
78
5
& 4
6 4 back
w
4 4 4
U U
U 4
pp
5 ?
6 4 4 #

& 4 w# 4 4 n
u

b n # n U
pp
j
pp

? 6 b w 4 U 4 U
4 w 4 b 45 4

P P P P
 7
No. 2: Credo in unum Deum
take significant

U U, U,
q = ca. 104 (not slow!) long breath pause sim.
U sim.

& 44

{
#
p
4 U (no break in piano) U
&4 w w w w w w
> > >
? 44
f much louder than saxophone
U U

P

U U, U, U,
10
U U
7

&

{

U U U
& w w w w w
> >
? U U U

(P)
13
U U, U U,
#

{
&
U U
& w
w w w
> > >
? U U w

(P)
20 in time
19 U U, ,
quick breath

& #

{
w #
U
&

? w w
U >
w w w w w
(P)
8 30
a bit as long
U U, Uslower
, U U U,
26 as possible

& w w

{
w
U U U pp

&
? U
w
>
w w
U
w
U
w w w w
(P)
34 in tempo, in tempo, 40

{
slowing but slower q = ca. 72
& w
w w

#
pp
# w
& #w
w w
w
pp

? w
( pp )

w w w w w w w

P
PP P P P

# j
43 50
j

{
&
pp

# j
# w j
#

& w # w w
w w
?
w w w w w w w w-
<>
51 (P) P
, P P PPP
, P
, U
P

{
# w

& w # # w w
w
U
# w

& w # w # w w
w # w #w w #w
? U
w w w w w w w w w
<>
P P P PP P P
 9

No. 3: Watch the Night With Me (Part 1)

draw out dim. very

carefully take your time
q = 72
U ,
full release
U , accel. slowing
U ,
4
&4
no vib. breath sim.

w w w

{
p mp p op mf p o
4 U U
(no break)

&4
U U U
p
? 44

-
P

7 accel. slowing
U ,
10

& w w

{

U
&

?

w


P
( P continues)

U ,

{
11

&
w w
U
&

b --

( pp ) mf

U
sub.

?

11
b

b
(P)
P P ad lib. for clarity
10
14
U
& w w

{
b
U

& - - - b
? w U
w
w w
16 P
accel.
&

{
w w
p # #
#
& ##
#
#
6

#
# #
p mf dim.
? 7
7
& # #
#
# cresc.
P
20
U
18 slowing accel. slowing gradually

& j w
w

{
fij fij
mf

fi # # fi fi ## n #
# # U j j j

&
#
#
mf
& ?
&#
#
21

P
& w w

{
# # n
dim. grad. fade

& #
# # # n

? # # n

dim. very gradually
& # #
(P)
 11
23 quite slow New tempo q = ca. 60
23 w #w

{
&

pp

23 w
w
& #w
w # w
, pp #w
? #n 23 w w
##n # n # n # n #.n. . w w

(P)
* P ad lib.

, 30 , U

{
27

& w # w w #w # w w
U

w w
& w # #w # # w
#w
w
w #w
w w # w w
#w
w w w
w U
w
? w w w
w
w w w

w w w

{
No. 4: Watch the Night With Me (Part 2)

5
q = ca. 84 - ten. slowing
fij j
#
&4
4 # 4 j 4
# w 4



pp 6 2-1

? 4 # w
4 w
w
w 4
5 44
no P

{
U # 43
(q = 84) ten. slowing ten.
j j j
3 long

# 44 # fi r
4
&4 j fi
j

w
#

6

? 44 # w
44 w

w
w
w 43 w
w
w
uP J
no P
P
{
12

#w # 43 # #
10
U j
7 long (q = 84)
j 4
&

j #
w ww
4

6

?
# w
w w
w 34
w w 44

{
uP J
no P
> >
# j #
12 P

& 44
# w
w #
w #
pp 6

#
p
w w w
? 44 J
w
w
w
w
w
w

{
20
16
U
& #
3 3 3

# #
# # w # # n#
w
5
w U
? w
w w
w
w #
#

{
#
A bit faster
# #
21
# # #w
3 3 and steadier q = ca. 72
& nw# #n# # #

? w w
( pp )
w w
w w

{
w w w w
n # #
# # # #j #
27 30 P

& # # # #
?

w w w

{
w w w w
U
34 P P ad lib. for clarity
slowing
&

? j # # # U
## # #w
w *
P
 13
40
U U
39 (q = ca. 80)

# # . #
r
3 3

& # #
3 3

{
3 3 3 3

U
pp ( pp )

#w
w
&

U
w
?
w w
w

w w
P U.C.

. 23 w
42
44
3 3 3 3

{
3 3
& # #
#
& 23 # 44

? 23 #
#
44
(P)
(U.C.)

# #> . #
44
4

{
&4 R R

#
3 3 3 3 3 3 3 3 3 3
3

& 44

?4
4
w

(P)
(U.C.) 50
47 3 3 3 3 3
3

& w # #
3 3 3 3

{
n#

& w

w
?


(P)
(U.C.)
14
51
U
J 45 # 44
3
3 3

{
& #n #
#
U
3 3 3

& 45 44
w
#w
U
? 45 44
w
*
(P)
(U.C.) U.C.
55
U
P
,
3 P
R # 45 #- 44

{
&
3
U
3 3 3 3

& w 45 w 44
w
w #w #w
? U
45 44
w w
<> P
w
P


, # , 60 , P
U

58

#

{
& w # w
U

#
& w # # w w
w
w w #w w
? U
w w #w w w
<> P P P P P P
U, (q = ca. 84)
U
64

& # 45 44

{

# #
U
allow to fade
# 4
& # 45

4
6 3 3

?U
allow to fade

45 44
#
&
<> P
P
{
# # U
15

# # # j
67 70

&44 #
J 5
U
4

&4

{
#
#
(P)
72
#
& ww #
45
# #
# # #
& ? 45 # #
# #

76 P P P

{
&
p

& # #
# # # #
? # #
# #

n
(P) P

&

{
79 80 accel.
44

44
cresc. grad.
&

cresc. 5
grad.
?
6
7
4
4

P
81 (P) q = 92
& 44 w

{
w
#
ff
4
J
#
R.H.
?
&4
R.H. 5 7

? 4 # 7
L.H. ff

4

w
R w
>
P P
16
83

& w w w w

{
> >
?

w
?
w
> w > > w
> >

#
87 hold back in tempo hold 90 in tempo
back
& w #

{
> >>
#> > > > #> > > > #> > > >
?

?
w w

w
w w w
>
>

& # > # #w
91

{
>
# #> > > > #> > > > #> > > >
? # #

?
w
w
> > w
w
>

#
95

& #

{
R
#
p
# #
?
p
?
w w w
w w w
 17

98 100 hold back

& # 45

{
J J

? # # # 5
4
? w w w 45
w w w

& 4 #
101 in tempo
5 44

{

? 5

4
#
pp
# 44
# &
pp 6 6 6 6

6
?5 # 44
4 # #
#
P P P
P P
] =x
[ >
6 5

102
U.C. <x slowing

& 44 w w

{
4
&4
5 5 5 5

? 4 # 6 6 6

#






6

4
(P)
(U.C.)

{
104 a lot quite slow
& w
fade
# U
w
&
5 5 5 5

? #






U

(P)
(U.C.)
18
No. 5: Wie bist du, Seele
(Soul, how have you become so unhappy?)
take
,
Quite slowly and freely

# # 43 j# 44 # w
U
time

& 44
1

{
U
p

&4
4 43 44
w #w # # w w
?4
p
U
4 43 44
w w #w

w # w
P ad lib.

, ,

10 q = ca. 58
#w U
7

{
& # #w
U
pp p
# #w
w w
w
& n # # #w w

? U
# # w w
<>
w w
13

{
& w w
mp

&

?
w
<> w
15 ,

{
& # w
&

?
w
<> w
 19

17

{
&

&

?
w w
,
r w
19 20

{
& #w w

&
## ## # #
?
w w w w
w
j
24

{
& # # w # #
p

& # #
# # # #
?
patiently

w w w #w w #w

30

j # #w

{
& #w

& # # # # # ##






?
w w w w
#w w
20
36 40 slowing in tempo
& # #w

{
w w

& # # # ## ## ## # #
# # #
?
# w w w w #w
42 slowing , in tempo
U

{
& w #w w #w w w
U
& # ##
### ### ### w
w w
? U
#w w w

w #w #w
take take
U , 3

50
U
48
j 4
time time

& # # 4 # 4 #

{
w
pp
U U
&
w #w 43 # 44
#w w
U pp
U
? 43 44
w w #w

w #w
U.C.

, , , #w U
& # #
60 slowing
w w w
55

{
# # # # w
#U

#w
# #
& w
n # #w
? U
# # w
<>
w w w w
(U.C.) P
 21

No. 6: Whale Story

(O Sacred Head Now Wounded)

Why should God have incarnated only in human form?

(A brief story about whales)

In the sixty million years or so the great whales have had,

both on land and in the oceans, there have been numerous,
and in fact innumerable, great beings among them.

In fact, it turns out now that all the great whales are either
highly developed bodhisattvas or Buddhas.

And in fact it turns out that the Earths oceans are a Buddha
Pure Land, and when you pass from this existence it is to be
hoped for rebirth as a god or a great whale.

In fact it turns out that the Pure Land oceans of the Earth
are a training ground for Buddhas across all space and time.

We are loved by the great whales, and they, serenely riding

the waves of birth and death, will die for us so that we may
come to our enlightenment.

The end.
22

No. 6: Whale Story (O Sacred Head Now Wounded)

{
U
Reticent

& 44 w # #
4
p
U # #
&4 # #
# # # #
u
U j
# # #
p

? 44 #
P ad lib for clarity ad continuity
u

slowing
,in tempo 10 hold
,
& #j
6

j back

{
w # #

#
& w # #
J
w
#
# #
J
#
?
# #
w

,
44 U
in tempo

j # 4
11

45 # #
5

{
& w j # w

45 # 44 U # # # 45
& J ##

J
u U
44 # # # # 5
? # 45 # # # 4
#
u
 23
16
U , , , U
& 45 44 43

{

# # # w w
, U
5
& 4 ## #
44 43
# # w
w #w
w
u
? 45 # ## # n 44 # n w #U
#
# w w
w

43

u
P pp

20 q = ca. 84

& 43 42 43 42 43 42 43

{

3 2 3 2 3
& 4 # 4 # 4 # 4 # 4 J 42 43

? 3
4 42 43 42 & 43 # 42 # 43

<>
26
P 30

& 43 42 43 42 43 42 43
U.C.

{
# # # #
& 43 24 34 2
4 3
4 J 42 43
3 2 3 2 3 2 3
& 4 # 4 # 4 # 4 # 4 # 4 # 4

(P)
(U.C.)
32

& 43 42 43 # 42 43 42 43

{

2
pp
3
&4 4 43 42 43 4
J
2 43

& 43 # 42 # 43 # 42 # 43 # 42 # 43

(P)
(U.C.)
24
40
38

& 43 # 42 43 2
# 4 43 42 j 43

{
<> #
2 3 ##
#
#
3 #
& 4 # 24 34 42 # 43
4
4 J
& 43 # 42 # 43 # 42 # 43 # 42 # 43

(P)

& 43 #
(U.C.)
44

42 43 42 # 43

{
<>
3 24 (loco)
& 4 43 42 # 43
3
&4
2 3 2 3 ?
## 4 # 4 # 4 # # 4 # #
# n
P ad lib. for clarity
in
,
(U.C.) ten. tempo slowing
49 50

& 42 42
43 #

{

pp
# ,
2 3 2 #
& # # 4 # 4 4
# # # # ## # #
? # 2
4 # 43 42
(U.C.) P
55 in tempo slowing

& # 43 42 43 42 43

{
-
34 24
fade
#-
p dim. grad.

& #
J 43 42 43
# # # # # # # # # #
# # #
? #
43 # 42 # 43 # 42 # 43
dim.

P P
(U.C.)
 25
60 in tempo q = ca. 84
U
& 43
- - - #- -

{
- -
-
#
pp legato cresc. very slowly
U # # #
& 43 ? # #
ppp
# ## ## U n
pp cresc. very slowly
? 3 ##
4 n
U.C. *
(U.C.)

P ad lib.
, 70
#- - -
67
-
- #

{
& #- - - - #- -
#
? #
# # # # #
#
&
# # #
? # # # #
# # # # #
<> #

& #
# # #
74 hold back in tempo 80
#- - #-

{
b
# #
#
ff

& #### # ## b b n # #
## # # n b #
#
#
ff
?
# # # # b b n
# # # # b b n
# # # , # # , #> #> n>
81 > > > > >

{
&
> # > > > > # > > > > # > > > > >
# # # # # # # n
fff

& # # # # # # # n
> >
fff
> #
? # # #

#> # #> # # #> b n b
<> > > # > > > > # > > >
> >
> > b > n b >
> >>
26

b>
, ,
# b
90

89

&

{
dim. very gradually

b
& bbb nb # b
b b
> # b
?
dim. very gradually

nn bb nn b n <n> b n
>

100 in tempo
U
hold

& b
96 long

b
44
b
back

{
n
U
b b bb
ppp

bbb

& # ? b n n

44
#
u
b U
pp
? 44

b n b n b b
<>

a nice
in tempo
U U
104 pause
4 #

{
&4 #
# # #
pp

? 44 U U #
& #
n

# # # ## #
u
pp
U j
?4 U n # # # #
4
P ad lib. for clarity and continuity
u
U.C.
 27
109 110
U U
# w 45

{
& w

U U
& # # # 45
w
J
w #
J u
# #U
w # U
?
# #
w # 45
u
( P ad lib.) P * P ad lib.
(U.C.)

44 U
115

& 45 #

{
#w

5
& 4 #
44 U # # #
J ##u w
w J
U
? 45 #
#
44 # # #

# #
#
( P ad lib.)
(U.C.)
u

119
U 120 slowing
, U

{
& # # # w #w
U , U
& # #
# w
w #w
# # w
u
u
# #U
? ## # # # w
w #U
w
w
u
u
( P ad lib.)
(U.C.)