THE SONATA FOR ALTO SAXOPHONE AND PIANO

114 Pages·2007·3.61 MB·English

by  Summer Camp

THE SONATA FOR ALTO SAXOPHONE AND PIANO (1988) BY

DAVID MASLANKA:

AN ANALYTIC AND PERFORMANCE GUIDE.

by

CAMILLE LOUISE OLIN

(Under the Direction of Kenneth Fischer)

ABSTRACT

In recent years, the Sonata for Alto Saxophone and Piano by David Maslanka has
come to the forefront of saxophone literature, with many university professors and
graduate students aspiring to perform this extremely demanding work. His writing
encompasses a range of traditional and modern elements. The traditional elements
involved include the use of “classical” forms, a simple harmonic language, and the
lyrical, vocal qualities of the saxophone. The contemporary elements include the use of
extended techniques such as multiphonics, slap tongue, manipulation of pitch, extreme
dynamic ranges, and the multitude of notes in the altissimo range. Therefore, a
theoretical understanding of the musical roots of this composition, as well as a practical
guide to approaching the performance techniques utilized, will be a valuable aid and
resource for saxophonists wishing to approach this composition.
INDEX WORDS: David Maslanka, saxophone, performer’s guide, extended
techniques, altissimo fingerings.
THE SONATA FOR ALTO SAXOPHONE AND PIANO (1988) BY

DAVID MASLANKA:

AN ANALYTIC AND PERFORMANCE GUIDE.

by

CAMILLE OLIN

B. Mus. Perf., Queensland Conservatorium Griffith University, Australia, 2000

M.M., The University of Georgia, 2003

A Dissertation Submitted to the Graduate Faculty

of the University of Georgia in Partial Fulfillment

of the

Requirements for the Degree

DOCTOR OF MUSICAL ARTS

ATHENS, GEORGIA

2006
© 2007
Camille Olin
All Rights Reserved
THE SONATA FOR ALTO SAXOPHONE AND PIANO (1988) BY

DAVID MASLANKA:

AN ANALYTIC AND PERFORMANCE GUIDE.

by

CAMILLE OLIN

Major Professor: Kenneth Fischer

Committee: Adrian Childs
Angela Jones-Reus
D. Ray McClellan
Stephen Valdez

Electronic Version Approved:

Maureen Grasso
Dean of the Graduate School
The University of Georgia
May 2007
ACKNOWLEDGEMENTS

I would like to thank David Maslanka, first, for his important contribution to the
saxophone repertoire, and second, for his time and effort in helping me to provide accurate and
engaging information for this document. I would also like to thank my major professor, Dr.
Kenneth Fischer, for all of his guidance, support, and encouragement throughout my degree; Dr.
Adrian Childs for his guidance with my analyses, as well as the other members of my committee:
Dr. Stephen Valdez, Dr. D. Ray McClellan and Ms. Angela Jones-Reus. I wish to acknowledge
the cooperation of the North American Saxophone Alliance in granting permission to reproduce
the musical excerpts. Finally I would like to thank my parents, and my close friends in both
Australia and the United States of America. Without their assistance and support this project
would not have been possible.

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TABLE OF CONTENTS

Page

ACKNOWLEDGEMENTS………………………………………………………………………iv
LIST OF EXAMPLES…………………………………………………………………………....vi

CHAPTER
I ORGANIZATIONAL PLAN AND REVIEW OF LITERATURE…………...….1
II HARMONIC STRUCTURE AND UNIFYING FEATURES OF THE
SONATA FOR ALTO SAXOPHONE AND PIANO…………….…………............9
III THE HARMONIC LANGUAGE OF THE SONATA FOR ALTO SAXOPHONE
AND PIANO……………………………………………………………….…..…26
IV A PERFORMER’S GUIDE TO THE SONATA FOR ALTO SAXOPHONE
AND PIANO…………………………………………………………………...…38
V AN INTERVIEW WITH DAVID MASLANKA……………...………….…......58
VI CONCLUSIONS……………………………………………………………….101

BIBLIOGRAPHY…………………………………………………………………………...….104
APPENDIX
SAXOPHONE FINGERING CHART……………………………………………...….105

v
LIST OF EXAMPLES

CHAPTER II Page
Example 1. Maslanka Sonata, Mvt. 1, mm. 1-24. 10
Example 2. Maslanka Sonata, Mvt. 1, mm. 24-58. 11
Example 3. Maslanka Sonata, Mvt. 1, mm. 72-87. 12
Example 4. Maslanka Sonata, Mvt. 1, mm. 129-144. 14
Example 5. Maslanka Sonata, Mvt. 1, mm. 106-111. 18
Example 6. Maslanka Sonata, Mvt. 1, mm 113-114; mm. 116-117. 18-19
Example 7. Maslanka Sonata, Mvt. 3, mm. 31-38. 19
Example 8. Maslanka Sonata, Mvt. 3, mm. 40-41. 20
Example 9. Maslanka Sonata, Mvt. 2, mm. 63-64. 22
Example 10. Maslanka Sonata, Mvt. 2, mm. 84. 22
Example 11. Maslanka Sonata, Mvt. 2, mm. 34-38. 24
Example 12. Maslanka Sonata, Mvt. 2, mm. 71-77. 24

CHAPTER III
Example 13. Maslanka Sonata, Mvt. 1, mm. 68. 26
Example 14. Maslanka Sonata, Mvt. 2, mm. 56-60. 27
Example 15. Maslanka Sonata, Mvt. 3, mm. 285-299. 28
Example 16. Maslanka Sonata, Mvt. 1, mm. 71-72. 30
Example 17. Maslanka Sonata, Mvt. 2, mm. 14-19. 30
Example 18. Maslanka Sonata, Mvt. 2, mm. 28-33. 31
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Example 19. Maslanka Sonata, Mvt. 2, mm. 49-56. 32
Example 20. Maslanka Sonata, Mvt. 2, mm. 92-99. 32
Example 21. Maslanka Sonata, Mvt. 1, mm. 61-62. 35
Example 22. Maslanka Sonata, Mvt. 3, mm. 8-10. 36

CHAPTER IV
Example 23. Maslanka Sonata, Mvt. 1, mm. 14-20. 39
Example 24. Maslanka Sonata, Mvt. 1, mm. 64-70. 40
Example 25. Maslanka Sonata, Mvt. 1, mm. 99-102. 41
Example 26. Maslanka Sonata, Mvt. 1, mm. 117-120. 42
Example 27. Maslanka Sonata, Mvt. 2, mm. 44-56. 43-44
Example 28. Maslanka Sonata, Mvt. 3, mm. 11-12. 44
Example 29. Maslanka Sonata, Mvt. 3, mm. 21-33. 45-46
Example 30. Maslanka Sonata, Mvt. 3, mm. 137-139. 46
Example 31. Maslanka Sonata, Mvt. 3, mm. 225-231. 47
Example 32. Maslanka Sonata, Mvt. 3, mm. 276-277. 48
Example 33. Maslanka Sonata, Mvt. 3, mm. 282-285. 48
Example 34. Maslanka Sonata, Mvt. 1, mm. 150-162. 49
Example 35. Maslanka Sonata, Mvt. 2, mm. 24-27. 50
Example 36. Maslanka Sonata, Mvt. 2, mm. 56-60. 50
Example 37. Maslanka Sonata, Mvt. 3, mm. 449-456. 51
Example 38. Maslanka Sonata, Mvt. 3, mm. 154-157. 51
Example 39. Maslanka Sonata, Mvt. 3, mm. 140-144. 52
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Example 40. Maslanka Sonata, Mvt. 3, mm. 175-181. 54
Example 41. Maslanka Sonata, Mvt. 3, mm. 301-307. 54-55
Example 42. Maslanka Sonata, Mvt. 1, mm. 62-64. 56
Example 43. Maslanka Sonata, Mvt. 1, mm. 117-120. 56
Example 44. Maslanka Sonata, Mvt. 3, mm. 38-45. 57
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CHAPTER I

ORGANIZATIONAL PLAN AND REVIEW OF LITERATURE

Introduction
The American composer, David Maslanka, has made a positive contribution to the
literature of the saxophone. Born in New Bedford, Massachusetts, in 1943, Maslanka was
awarded the Bachelor of Music in Music Education in 1965 from the Oberlin College
Conservatory. He studied composition with Joseph Wood, and traveled to the Salzburg
Mozarteum in Austria for one year while obtaining this degree. He then attended Michigan State
University from 1965 to 1971, studying theory with Paul Harder and composition with
H. Owen Reed while earning the Master of Music and Doctor of Philosophy degrees. His works
for winds, percussion, and wind symphony have become well known, being performed
throughout the United States, Canada, Japan, Australia and Europe. He has received numerous
grants and awards from the National Endowment for the Arts; the State University of New York
Research Foundation; the Baird Rockefeller Fund for Music; and the American Society for
Composers, Authors, and Publishers. Maslanka is listed in the International Who's Who in
Music, and Grove's Dictionary of Music and Musicians. He has served on the faculties of the
State University College - Genesco (NY), Sarah Lawrence College (NY), New York University,
and Kingsborough Community College (CUNY), and is a frequent guest composer and
conductor at colleges and universities. Presently, Maslanka lives in Missoula, Montana, where
he is a free-lance composer working solely by commission.
In an interview with saxophonist Russell Peterson, Maslanka said “Certain voices have
been prominent in my work, why should I be writing for saxophone? I don’t know! I love the
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