Neil Welch, Continuous Resonance Project
Date: 03/27/2014
Location: Home studio in Clinton, WA (Whidbey Island)
Instrument: Tenor saxophone
Performed Acoustically
Notes:
The image “Chamberlain” accompanying todays post by Roe Ethridge (2010).
03/12/2014 Continuous Resonance Solo Improvisation
Neil Welch, Continuous Resonance Project
Date: 03/12/2014
Location: Home studio in Clinton, WA (Whidbey Island)
Instrument: Tenor saxophone
Performed Acoustically
Notes:
In this improvisation I balanced the use of a recurring minor figure with an oscillating pitch center above it. The minor melody used a series of 3 descending pitches with tempered tuning, using the notes E, D#, C#, with the C# being perceived as the root. The maximum volume of these pitches was no more than medium quiet, and they were executed by a recurring fingering shape. During this improvisation I adjusted my embouchure and air flow within this fingering system to pull out the upper register pitch oscillations. There was a true sense of part independence for me during this improvisation, in the sense that I had control over volume within the two regions (the minor melody and the pitch oscillations), as well as control over the ability to phase either of the regions in or out.
The image “Lake Louise, Canada” accompanying today’s post by Lee Friedlander (2000).
02/25/2014 Continuous Resonance Solo Improvisation
Neil Welch, Continuous Resonance Project
Date: 02/25/2014
Location: Chief Sealth High School. Seattle, WA
Instrument: Tenor saxophone
Performed Acoustically
Notes:
This improvisation was recorded in a small theatre at Chief Sealth High School, mid-day between teaching my students and practicing.
The image “Four Generations” accompanying today’s post by Seb Patane (2004).
02/16/2014 (Solo improvisation in a Yurt at Champaeg State Park)
Neil Welch, Continuous Resonance Project
Date: 02/16/2014
Location: Champoeg State Park, Oregon
Instrument: Tenor saxophone
Performed Acoustically
Notes:
My wife and I spent the weekend exploring Champoeg State Park, located 20 or so miles South of Portland. We stayed in a simple, canvas yurt. The weather was severe, with flooding throughout the surrounding farms and lowland forests. The mighty Willammut River itself was several feet above the typical water level, jumping the banks and is some spots and flowing onto the roads beside it. We were told by local folks that this was typical during heavy rains this time of year.
Between downpours, the wind would whip against the side of the yurt. I recorded today’s improvisation during a rare calm in the weather, though during the improvisation the outer canvas windows can be heard occasionally slapping the side of the yurt when the wind picked up. The howl of the wind in the trees beside us is audible as well.
The image accompanying today’s post is a still shot from a cell phone video, depicting Miami artist Maximo Caminero smashing a pot by Chinese artist Weiwei. This act was done in defiance to the lack of local artist representation at the new Perez Art Museum Miami. Caminero stated that “It was a spontaneous protest,” he explains. “I was at PAMM and saw Ai Weiwei’s photos behind the vases where he drops an ancient Chinese vase and breaks it. And I saw it as a provocation by Weiwei to join him in an act of performance protest.”
02/09/2014 (Continuous Resonance) 2 improvisations--the developmental process
Date: 02/09/2014
Instrument: Tenor saxophone
Location: Home studio in Clinton, WA (Whidbey Island)
Performed acoustically
Notes:
I recorded two improvisations today, labeled “Initial Version” and “Final Version” respectively. After recording the Initial Version, I ultimately felt that I had not fulfilled the mission of the improvisation and decided to use this take as an initial springboard for further development. I recorded a second piece with a complimentary, and in my estimation, more successful overall approach, noted here as the Final Version.
The image “Her Affect On Branches” accompanying this post by Ernesto Caivano (2009).