Neil Welch Continuous Resonance Solo Project
Date: 11/28/2015
Location: Thornton Creek House. Seattle, WA
Instrument: Tenor saxophone
Notes:
This improvisation uses recurring themes that are sung into the horn, while exploring more indeterminate harmonic areas by moving freely around the horn in the pitched material beneath the sung tones.
The image accompany the post today by Peter Mohall.
Neil Welch Continuous Resonance Solo Project
Date: 11/26/2015
Location: Practice Room B at South Whidbey High School. Langley, WA (Whidbey Island)
Instrument: Tenor saxophone
Notes:
Over the past few years I’ve been exploring a new (at least to me) method of articulation on the horn that uses triple-tonguing by moving my tongue in a careful pattern that alternates again striking the reed with the tip of my tongue, followed by the roof of the mouth, and finished towards the center of my tongue. I then moved away from this stiff articulation and began incorporating the contrasting element of pliable pitch regions.
The image accompany the post today by Rosa Barba.
Neil Welch Continuous Resonance Solo Project
Date: 11/25/2015
Location: Practice Room B at South Whidbey High School. Langley, WA (Whidbey Island)
Instrument: Tenor saxophone
Notes:
A quiet improvisation that explored maintaining a drone while pulsing pitches within multiphonics and overtones, and phasing in and out of an array of sound colors.
The image Elegy to the Spanish Republic, No. 57 accompanying the post today by Robert Motherwell (1957-61).
Neil Welch Continuous Resonance Solo Project
Date: 11/24/2015
Location: Performance Hall at Chief Sealth High School. Seattle, WA
Instrument: Tenor saxophone
Notes:
An aggressive improvisation recorded in the performance hall at Chief Sealth High School between teaching lessons to sixth grade beginning saxophonists.
The image accompany the post today is by an unknown creator.
Neil Welch Continuous Resonance Solo Project
Date: 11/21/2015
Location: Thornton Creek House. Seattle, WA
Instrument: Tenor saxophone/Chest beating
Notes:
During this improvisation I explored beating my chest while playing, or chest beating on its own. The beating helped to alter the pitch stability while I played but also added a natural textural element to the sound spectrum. A component of improvisation is also the ambient noise of Thornton Creek, as heard from my winder, and slight melodic overtones from tv music off in the living room of the house.
The image accompany the post today by Anne De Vries.
