02/19/2013 (12 Moons Solo Project Day 50)

12 Moons Solo Saxophone Project Day 50

Date: 02/19/2013

Instrument: Tenor saxophone

Location: Cheif Sealth High School Performance Hall

Notes:

This morning I read an article in National Geographic about a variant gene called DRD4-7R, which scientists believe may lend the traits of restlessness and curiosity to nearly 20% of all humans.  The article goes on to tie the human need for exploration with the equally important human trait of tool use.  When I went into the performance hall at Chief Sealth today, a snare drum was sitting on the stage and I decided to make use of this unique tool.

During this improvisation I took a great deal of care to eliminate any breathiness in my sound.  I selected a reed that allowed me to get as pure a tone as possible.  I positioned the mic to capture my horn and the snare at an equal distance.  The overtones and sheer bulkiness of the tenor sound easily make the snare hiss, but I tried to work with textures that dug a little deeper than this.  I was intrigued by the subtle buzzing sounds that resonated in the drum, as well as the slight differences in the sound waves when I would open or depress new keys.   

I centered this piece around a Concert C, which I found to resonate in the snare in a very unique way compared to the other pitches on my horn.  This note seemed to be more muted and stuffy than any other pitch I played into it.  I also introduced a Concert Db in the upper register about a quarter the way into the improvisation.  I later went on to add a multiphonic that also spoke a Concert Db at its highest point, and I began to explore further pitches in a more melodic fashion.  

-Neil

02/18/2013 (12 Moons Solo Project Day 49)

12 Moons Solo Saxophone Project Day 49

Date: 02/18/2013

Instrument: Tenor saxophone 

Location: Home studio in Clinton, WA (Whidbey Island)

Notes:

Last night at the Racer Sessions (racersessions.com), a Seattle-based avant garde series, I had an excellent discussion with my friend Lauren Imbrock.  Lauren asked me what idea I’m currently working on in my improvisations, and my immediate response was the idea of slowly revealed truth.  In my own playing I’ve noticed this concept coming up over and over again.  For example, I often find a multiphonic and pre-plan some kind of sound manipulation with it.  I might have a good idea of what the final result of the fingering will produce, but I will only play a part of the chord and choose the best time to begin introducing the remainder of the chord.  I decided to run with this concept in my improvisation today. 

When I open the High F# key and move between what would normally be my Middle C and Middle B fingerings, a muted Concert D and a muted Concert D (slightly flatter and even more muted) will be produced.  On Middle B fingering with the High F#, a multiphonic is possible but only wants to produce with a good amount of embouchure pressure.  When going between the two notes and beginning to allow the multiphonic to speak, the muted Concert D and second muted Concert D still continue to play beneath it.  

As the piece progresses, I begin introducing a second multiphonic, produced by adding to Low F# key to the fingering action already taking place.  However, with this new fingering the two Concert D’s sound virtually the same.  Again, my idea here was to begin a new phase in the composition without the listener having known about it.  Other tones, such as the Concert D high octave begin to come into the sound field as well.  I also tried to control the balance in volume between the two multiphonic fingerings and the two Concert D’s being played beneath them.  Finally, breathing was on the forefront of my mind during this piece.  Generally I only played a phrase as long as a single breath would allow, but I would occasionally take a breath when I felt like the phrase ought to be able to continue.

-Neil

02/17/2013 (12 Moons Solo Project Day 48)

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12 Moons Solo Saxophone Project Day 48

Date: 02/17/2013

Instrument: Tenor saxophone

Location: Office storage room on 45th avenue.  Seattle, WA 

Notes:

From the loudest possible guttural sounds to the quietest closing of a key cup, I find solace in exploring the extremes of my instrument and the control of my body while playing.  My practice session today felt very scattered and unsettled, namely one of those inevitable days where I found it difficult to walk away feeling positive about my efforts.  This project does not allow me to put the horn away without having explored a concrete idea, and thankfully the music offered itself to me towards the end of my session.  

This improvisation explores consonant chords and a simple, somber melody.  This particular improvisation could only be created at a whisper soft volume, with a great deal of air and a loose but focused embouchure.  The breathiness of my horn and the crackles from my saliva are as much a part of the music as are the notes themselves.  The simple melodies explored in this piece use the concert pitches Eb-Db-Eb-E (middle register) as well as B-Bb-B-C#-B (upper register).  With the chords that accompany these melodies there is also melodic counterpoint that introduces consonant pitches into the harmony.  I tried to maintain an even-keeled balance in volume with the initial melodic content, and to allow new tones to enter as they or I saw fit to do so.

-Neil

02/16/2013 (12 Moons Solo Project Day 47)

12 Moons Solo Saxophone Project Day 47

Date: 02/16/2013

Instrument: Tenor saxophone

Location: Home studio in Clinton, WA (Whidbey Island)

After practicing and searching for new textures and improvisational ideas for a few hours today, I stumbled upon this improvisation.  Without blowing any air and by opening and closing any key against the body of the horn, there is a pitch that is always audibly be heard.  Generally this pitch is only a momentary stacatto with no sustain, but other fingerings actually allow the pitch to ring a bit.  My improvisation today explored this area.

After practicing for some time today saliva had welled up in the bottom of my horn.  When I tilted the horn at an angle and held it against my body, I noticed a particular pitch would speak with the following fingering: (Left Hand) B-A-G keys, Low Bb // (Right Hand) F key, Low C key.  When gently or firmly striking the F# key in the right hand, the horn would resonate a Concert D pitch.  In fact, when doing this fingering I could hear the Concert D even when tapping any point on the body of the instrument.

I found that the pitch would resonate the loudest and clearest if I struck the key with my index finger.  I suspect this fact has nothing to do with the horn itself and more to do with the muscles in my index finger.  In this improvisation I explored the natural “clack” when striking the key and the resultant D pitch.  I divided the improvisation into sections A and sections B.  Sections A included a steady rhythmic pulse and an exploration in levels of balance between the clack and the pitch.  In section B, I tried to create a “roll” with my index and middle fingers.  In order to maintain the Concert D pitch however, I had to float my fingerings on the key.  Normally each key is fully closed and fully opened when played, but to get the pitch to speak I was only able to close the key about half way during the roll.  

-Neil