Andrew Saragossi: Research Report 2019 / 2020
Challenging the Saxophone’s Traditional Role in Jazz and
Improvised Music Through Exploration and Utilisation of
Extended Instrumental Techniques
by Andrew Saragoss i
Conservatorium Maastricht ZUYD Student No#:1825445 Main Subject: Saxophone (Jazz Performance – Master) Main Subject Teachers: Greg Torunski, Roger Hanschel, Frank Gratkowski, Ben van Gelder, Eva van Grinsven, Reiner Witzel Research Supervisor: Jesse Passenier
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Published August 2020.
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Abstract
This artistic research report explores the functional possibilities of three extended
instrumental techniques for the saxophone, uncovering and applying discovered
conceptual principals for their use in composition, performance and improvisation
whichallowforsaxophoniststooccupynon-traditionalrolesandfunctionsinthebroad
context of jazz and improvised music. The techniques of multiphonics, percussive
articulation and circular breathing are at the centre of this investigation and were
selected due to their inherent potential when utilised creatively to position the
saxophone as an accompanying instrument by having it occupy harmonic or chordal
function, rhythmicandpercussiveunderpinnings,moodor atmosphericpresenceor a
mixtureoftheaboveinagivenpieceofmusic.
Particular areas of enquiry include: theoretical and practical underpinnings of the
chosen extended techniques, analysis of various case studies outlining certain
compositional trends of their use in existingmaterial, personal artistic application of
these concepts in the form of compositions and recordings (for the duo Meatshell -
featuring saxophone & double bass/vocals), personal artistic application of these
concepts in a purely improvised context (in the form of recordings with vocalist
Sebastian Stert). The results within have highlighted the possibilities with regard to
how the saxophone can be reimagined conceptually as an instrument and how
techniqueswhicharemainlyutilisedinavant-garde,contemporaryclassicalandfreely
improvisedmusiccouldbebridgedintotheworldofjazz.
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Table of Contents
1. Introduction.......................................................................................................................8
Why Extended Techniques? ............................................................................................... 8
Which Techniques Will Be The Focus? ............................................................................. 9
Artistic Research Aims & Outcomes ............................................................................... 10
2. Method.............................................................................................................................11
2.1 List of Data ................................................................................................................. 11
2.2 Sub-Questions ............................................................................................................ 12
SUB-QUESTIONS 1, 2 & 3 .............................................................................................. 13
SUB-QUESTION 4 ........................................................................................................... 14
3. Results..............................................................................................................................16
3.1||Sub-question #1||How can exploration and utilisation of multiphonics in
composition and performance challenge the saxophone’s traditional role in jazz
and improvised music? ..................................................................................................... 16
3.1.1 What are Multiphonics? .................................................................................... 16
Scope for this Research ............................................................................................. 16
How & Why Are Multiphonics Produced? ............................................................. 17
Fingerings & Classifications ...................................................................................... 19
3.1.2 Case Studies :: Examples in Existing Music .................................................. 24
Use of Multiphonics as Harmonic/Chordal Punctuation ...................................... 24
Example #1 || John Coltrane “Harmonique” ........................................................ 24
Example #2 || Christian Lauba “Steady Study on the Boogie” .......................... 26
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Use of Multiphonics as Representation of Chordal Movement .......................... 28
Example #1 || Dai Fujikura “SAKANA” ................................................................. 28
3.1.3 Artistic Application || MEATSHELL .................................................................. 29
USE OF MULTIPHONICS AS HARMONIC/CHORDAL PUNCTUATION ..................................... 29
Example #1 || Carrots (in Honey) .......................................................................... 29
Example #2 || RJD ................................................................................................... 30
USE OF MULTIPHONICS AS REPRESENTATION OF CHORDAL MOVEMENT ........................... 33
Example #3 || Lost ................................................................................................... 33
Example #4 || Stones .............................................................................................. 35
3.2 || Sub-question #2 || How can exploration and utilisation of percussive
articulation in composition and performance challenge the saxophone’s traditional
role in jazz and improvised music? .................................................................................. 37
3.2.1 What is Percussive Articulation? ..................................................................... 37
Types of Articulations & How They Are Produced ................................................... 37
Articulation #1 || Slap Tongue ................................................................................... 37
Articulation #2 || Tongue Ramming ........................................................................... 39
Articulation #3 || Breath & Air Sounds ...................................................................... 39
3.2.2 Case Studies || Examples in Existing Music .................................................. 39
Example #1 | “Billy Goat Stomp” Stump Evans (solo) ........................................ 40
Example # 2 | “Rock Me!” Barry Cockroft ........................................................... 41
Example #3 | “Hide and Seek” Joshua Redman (intro) ...................................... 42
3.2.3 Artistic Application || MEATSHELL .................................................................. 43
Example #1 | Refuge ............................................................................................... 43
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Example #2 | F@CE ................................................................................................. 44
3.3 || Sub-question #3 || How can the exploration and utilisation of circular
breathing in composition and performance challenge the saxophone’s traditional
role in jazz and improvised music? .................................................................................. 46
3.3.1 What is Circular Breathing? .............................................................................. 46
How Is "Circular Breathing" Achieved? ................................................................. 47
3.3.2 Case Studies || Examples in Existing Music .................................................. 49
Drones ......................................................................................................................... 50
Example #1 || “SAKANA” Dai Fujikura ................................................................. 50
Broken Chord Patterns .............................................................................................. 50
Example #2 || Bobby Bradford & John Carter “Woman” ................................... 50
Ostinatos ..................................................................................................................... 51
Example #3 || Colin Stetson “Like Wolves on the Fold” .................................... 51
Example #4 || Andrew Ball “Jengu” ...................................................................... 53
3.3.3 Artistic Application || MEATSHELL .................................................................. 55
Drones ......................................................................................................................... 55
Example #1 || Lost ................................................................................................... 55
Broken Chord Patterns .............................................................................................. 55
Example #2 || RJD ................................................................................................... 55
Ostinatos ..................................................................................................................... 56
Example #3 || Broken Things ................................................................................. 56
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3.4 || Sub-question #4 || How can the exploration and utilisation of these three
extended techniques be incorporated and developed into a personal
improvisatory approach? .................................................................................................. 58
3.4.1 Free Improvisations ........................................................................................... 59
3.4.2 Improvisations Over “They Say It’s Wonderful” .......................................... 63
4. Conclusion & Discussion...............................................................................................66
5. Cited Works....................................................................................................................72
6. Appendix..........................................................................................................................73
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1. Introduction Inthecontextofjazzandimprovisedmusic,thesaxophoneisaninstrumentthatcannot
be separated from the great soloists of the genre. Masters like JohnColtrane, Charlie
Parker and Sonny Rollins, amongst others, were truly pioneers with regard to
understanding complex harmonic and theoretical concepts and applying them to the
technicalityoftheinstrument,creatingthefoundationofmodernjazztuitionaroundthe
world,andcertainlytheoneIwasaffordedduringmyBachelorstudiesinAustralia.
Whilst it is absolutely essential for any saxophonist to be able to occupy themelodic
functionandbethetraditionalsoloistic“voice”ofthemusic,inmypersonalexperience
(andinmyownmusic)Ibecamefrustratedwiththeinherentlimitationsasolefocuson
thisapproachbringswithregardtohowI,asasaxophonist,cancontributetoanygiven
musicalsituation.
Outof this frustration,myprimaryresearchquestion,which Ihavebeen investigating
overthepasteighteenmonths,presenteditself;
How can the exploration of three unconventional/extended instrumental
techniques for saxophone and utilisation of these techniques as starting
points for composition and performance challenge the instrument’s traditional
role in jazz and improvised music? Through this research I expect to discover new and novel ways of approaching the
saxophone conceptually as an instrument and develop a personal vocabulary of
techniques and applications of said techniques for the purpose of occupying non-
traditionalmusicalfunctions,utilisingthesaxophoneasanaccompanyinginstrumentin
thebroadcontextofjazzandimprovisedmusic.
Why Extended Techniques?
Asamusician,improviserandcomposerIalwaysstrivetoachievesomeessenceof“new
ground”andexperimentationinmywork.Ithinkthisphilosophypartlymanifestedout
ofadesire to findanddevelopmyownpersonal soundorvoiceasa jazzmusician (a
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virtuethathasbecomeclichébutalwaysremainsatrueandnoblepursuit),butalsoout
ofaninherentdutytokeepprogressingmusicforward,buildinguponthetraditionsof
masters that have come before us. For this reason I findmyself drawn towards the
avant-garde, free improvised and contemporary classical genres of music where
saxophonists are re-defining what it means to play the instrument physically and
conceptually,alwayscreatingnewsonicpossibilitiesnotnecessarilybasedonmelodic
orharmonicconcepts.
Which Techniques Will Be The Focus?
The domain of extended instrumental techniques for saxophone has grown and
developed considerably over the span of the 20th century thanks to the work of
composersandperformersinthecontemporaryclassicalandnewmusicfieldsaswellas
many free improvising and free jazz musicians. This field only continues to become
more diverse and excitingwithmany performers and composers experimentingwith
instrumentalpreparationsandelectronicaugmentationsofacousticinstruments.
Whilst it would be an interesting andworthwhile pursuit to cover the entire field of
sonic possibilities of the saxophone today, such a large undertaking is outside of the
scope of this research. Instead, my field of enquiry was limited by focusing on the
saxophone as an acoustic instrument only, without any alterations, preparations or
electronic augmentations. To limit myself even further, I chose to focus on three
extended techniques in particular, which if utilised creatively, each have an inherent
potentialtoallowthesaxophonetooccupynon-traditionalmusicalfunctions,including
for instance, outlining chordal or harmonic contexts, percussive and rhythmic
underpinnings, aswell as providing the textural and atmospheric presence of a given
pieceofmusic.Thesethreetechniquesinclude;
(i) Multiphonics,(ii) Percussivearticulation,(iii) Circularbreathing.
Beingquitebroadareasofenquiryinandofthemselves,eachtechniqueisexploredand
tackledunderanindividualsub-questionprovidingaclearstructureandprocessforthe
enquiry, learning of and application of these techniques in my own musical
experimentation.
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ARTISTIC RESEARCH AIMS & OUTCOMES
Theaimofthisartisticresearchistoexploreandanalysethecurrentandknownusesof
theseselectedextendedtechniquesforsaxophoneinrecordedmusic,notatedscoresand
other literature and apply this knowledge to my own composition and performance
practice in a personal, experimental and intuitive way. As my research question
revolvesaroundchallengingthetraditionalroleofthesaxophoneasthesoloisticvoice
in jazz and improvised music, my artistic application will be focused on duo
collaboration exclusively, with the saxophone avoiding thismusical function. Artistic
application of these techniques in composition and arrangement will be explored
through the lens ofmy experimental-folk/contemporary jazz duoMeatshell featuring
Helen Svoboda (double bass& voice),whereas strictly improvisatory explorationwill
happenthroughaseriesofduosessionswithvocalistSebastianStert.
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2. Method As with the majority of artistic research endeavours, this research was highly
qualatiativeinnatureandthedatausedwithinwasderivedfromamixofaction-based
and descriptive design methods. Some choices in the selection of data could be
consideredpersonalorsubjectivebutthisistobeexpectedinthisstyleofresearchand
such selections and decisions were made with the primary research question in the
forefrontofthemind.Thetablesbelowoutlinethelistofdatausedandfourkeyareas
ofenquiryintheformoffourseparatesub-questions.
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2.1 LIST OF DATA
This research took place over an 18month period (commencing in September 2018)
andencompassedthefollowingdata:
Data Description
Literature/Theoretical Collated information from several sources (Weiss & Netti,
Snekkestad,Murphy,Taylor)detailingthelearningoftheselected
extendedtechniques,referringtothephysicsoftheinstrumentas
wellasdefinitionsandclassifications.
CaseStudies Includingseveralrecordings, transcriptionsandscoresofalready
existing musical works that utilise these techniques creatively.
Usedforanalysesandcomparisonintheresultssectionaswellas
inspirationforcreativeapplication.
MeatshellRecordings+
Scores
Includes professional recordings and written scores of seven
original compositions that were the result of the artistic
applicationofthisresearch.
DuoSession
Recordings
Recordings of 4 sessions with vocalist Sebastian Stert (using
iPhone 6S), the intention of which was to experiment with
applyingthisresearchtoapurelyimprovisedcontext.
Blog Usedtodetailprocessandreflectionthroughouttheentireprocess
ofthisresearch.
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2.2 SUB-QUESTIONS
This research was divided into four distinct sub-questions so as to provide a clear
structure and process with regard to presenting data related to the main research
question:
How can the exploration of three unconventional/extended instrumental
techniques for saxophone and utilisation of these techniques as starting
points for composition and performance challenge the instrument’s traditional
role in jazz and improvised music?
Thesesub-questionsareoutlinedinthetablebelow:
Sub-Question1 Howcanexplorationandutilisationofmultiphonicsincomposition
and performance challenge the saxophone’s traditional role in jazz
andimprovisedmusic?
Sub-Question2 How can exploration and utilisation of percussive articulation in
compositionandperformancechallenge the saxophone’s traditional
roleinjazzandimprovisedmusic?
Sub-Question3 How can exploration and utilisation of circular breathing in
compositionandperformancechallenge the saxophone’s traditional
roleinjazzandimprovisedmusic?
Sub-Question4 How can the exploration and utilisation of these three extended
techniques be incorporated and developed into a personal
improvisatoryapproach?
As can clearly be discerned, sub-questions 1, 2 and 3were shaped so as to focus the
inquiryonthreespecificareas,beingthethreedifferentextendedtechniqueschosenfor
thisresearch.Theprocedureofanalysiswasthen,understandably,almostidenticalfor
eachsub-questionandassuch, insteadofsubstantiating theprocess involved foreach
sub-question individually and repeating the same information, the section below
outlinesthestepsandprocedureswhichtookplaceforallofthesub-questions,clearly
outliningwheredifferentstepswerenecessary.
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Sub-question4on theotherhandencapsulates the intuitiveapplicationofallof these
techniquescombinedinapurelyimprovisedcontextandassuchwillbefleshedoutin
isolationbelow.
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SUB-QUESTIONS 1, 2 & 3
A. Theoretical and Physical Underpinnings
Foreachsub-question,itwasfirstnecessarytodefinetheparticularextendedtechnique
anddiscusshowthescopeofinquiryforthepurposeofthisresearchwouldbelimited
withreferencetotheprimaryresearchquestion.Thisstepalsoincludeddescriptionof
sounds, discussion of why these phenomena occurwith detail of thephysics of the
saxophoneanddetailinghowthesoundsareproduced,allwithreferencetodifferent
literature, most vitaly “The Techniques of Saxophone Playing” by Marcus Weiss &
Georgio Netti (2010) which is a comprehensive catalogue of modern saxophone
techniqueswithinformationforperformersandcomposers.
• NOTE: For sub-question #1 with regard to multiphonics, further steps were
takeninordertore-categoriseWeiss&Netti’sexistingarchiveofmultiphonicsto
createapersonalcatalogueofmultiphonicsmoresuitedandtailoredspecifically
for this research, opting to focus solely on intervalic relationships, tuning and
chordal/harmonicpotential.
B. Case Studies
The next step in each sub-question was describing and analysing examples of these
techniquesbeingutilisedinexistingmusic.Selectionofthesecasestudieswasalways
made with the primary research question in mind. In other words the chosen case
studies,intheopinionoftheauthor,aimtochallengethetraditionalsolositicroleofthe
saxophone. The data used consisted of amixture of recordings, written scores and
transcriptions.
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• NOTE:Forsub-question#1withregardtomultiphonics,thedatawasanalysed
with regard toharmonic and chordal function, compositional techniques,
textureandatmosphericpresence.
• NOTE:Forsub-question#2withregardtomultiphonics,thedatawasanalysed
withregardtocompositionaltechniques,rhythmicunderpinningsandsound
textures.
• NOTE: For sub-question #3 with regard to circular breathing , the data was
analysedwithregardtocompositionaltechniquesandchordalfunction.
C. Meatshell Composition (Recording & Score) Analysis
This stepwas concernedwith the personalartistic application and outcomes of the
research,herewithregardtocomposition.Eachsub-questioncontainsananalysisof
relevantsectionsofthesevenoriginalcompositionswrittenandrecordedbyMeatshell
for this research, with reference to how the specific techniques have been used
creatively and if and how they challenge the saxophone’s traditional role in jazz and
improvisedmusic. Somecompositionscontainsections thatwererelevant inmultiple
sub-questions and in those circustances are addressed in each sub-question. Also
relevant in this step was comparing and reflecting on how the knowledge and
approaches learned in the case studies were applied and considered in the relevant
compositionsifatall.
NOTE:Meatshellisaprojectthatwascommencedatthestartofthisresearchwithdouble-
bassist,vocalistandcomposerHelenSvoboda.HelenisalsocurrentlyundertakingMaster
ofMusicstudeiesatConservatoriumMaastrichtfocussingonsolodoublebasscomposition
andextendedtechniques. Theduoisanoutletforbothofustobringtheknowledgeand
applicationfromourrespectiveareasofinquiryintoapracticalandmusicalcontext.
SUB-QUESTION 4
This final sub-questionwasconcernedagainwithartisticapplicationandoutcomesof
the research, although herewith regard to improvisation (both free improvisation as
well as improvisation in a jazz context – for example improvising over standard jazz
repertoire). This sub-question was not given as much weight as the first three and
servedasmoreofasmallpracticalexperiment,puttingmyselfintopurelyimprovisatory
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situations and seeing how and if the knowledge from this research informed my
improvisingandtowhatextent.
A. Duo Sessions w/Sebastian Stert
Overthefinalsixmonthsofthisresearchproject,four(4)duosessionswereconducted
withvocalistSebastianStertinwhichweperformedinbothfreelyimprovisedaswellas
functional improvisations within the context of standard jazz repertoire. Having
multiple sessions allowed us to experiment with different approaches and sounds as
wellasgrowanddevelopourindividualapproachestothiskindofplaying.
i. FreelyImprovisedTracks
Thefreelyimprovisedtrackswereanalysedwithregardtointention,sounds/techniques
utilisedandwhatfunctiontheyplayedinmusic,beittextural,chordal,percussiveormix
of many. Also relevant was the interaction with Sebastian, and how the sounds
complementedorconflictedhis.
ii. JazzStandards
Thejazzstandard“TheySayIt’sWonderful”byIrvingBerlinwaschosentobethefocus
with regard to functionality and as such was analysed not only with regard to
sounds/techniques utilised but also with regard to how they were used to portray
chordalmovement,rhythmicunderpinningsandanyothernon-traditionalfunctions.
NOTE:SebastianStert(akaBAX)isavocalistandactorfromBerlinwhoisalsocurrently
undertakingMaster ofMusic studies at ConservatoriumMaastricht. He is an incredibly
unique,surprisingandopen-mindedvocalistwhichhasmadehimanidealcollaboratorfor
thissectionoftheresearch.
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3. Results
3.1 || SUB-QUESTION #1 || How can exploration and utilisation of
multiphonics in composition and performance challenge the
saxophone’s traditional role in jazz and improvised music?
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3.1.1 WHAT ARE MULTIPHONICS?
Amultiphonicisaphenomenonwheretwo(ormore)distinctlyperceivablepitchesare
producedsimultaneouslyonaninstrumentthatwasbuilttogenerallyonlyproduceone
pitchatatime- thesaxophonebeingoneexampleofsuchaninstrument(Snekkestad,
2016). For someone who is attempting to occupy non-traditional musical roles and
functionsasasaxophonist,multiphonicssparktheimaginationbecauseoftheirinherent
potential to allow a saxophonist to convey harmony and provide chordal
accompanimenttoanothermusician.
Scope for this Research
The current literature generally classifies “multiphonics” as those complex sounds
achieved through some kind of disruption in the tube/air-column of the instrument,
primarily throughusing unusual “split” fingering combinations. This however is only
one formof thephenomenonandabroader interpretationof thedefinitioncouldalso
takeintoaccountmultiphonicsproducedthroughmanipulationofthenaturalharmonic
series,byaddingasecondresonator(i.e.singingorvocalising)orbyaddinganyother
acousticsound.
Norwegian saxophonist and composer Torben Snekkestad, in his doctoral thesis “The
PoeticsofaMultiphonicLandscape” (2016) takes thebroadestpossibleviewofwhata
multiphonicis,includinganyandallacousticsoundsthatcontainmultiplesonics;
“Whether these are perceived as white noise, breath sounds (including traces of pitch), added percussive key noise sounds, abruptly ‘split-tones’ or active ‘quasipolyphonic layers of sounds’… growl and ‘sing and play’ technique would fit into my definition as well. Also, in the most rigorous sense, sonorities not involving the saxophone reed or
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mouthpiece (playing on the neck like a brass instrument) and different kind of instrument – as long as it produces multiple sounds. (Snekkestad 2016, p.18)
WhilstinprincipleIagreewiththisextremelybroaddefinition,theresultingwidescope
would be far too much to cover in this research. It is important to note here that
Snekkestad’sresearchwassolely focusedonmultiphonicproductionandutilisationof
multiphonics(only)astherawmusicalmaterialforthedevelopmentofsolosaxophone
repertoire and improvisation. Adopting thewidestpossibledefinitiongavehimmore
possibilitiesforcreativedevelopmentinanotherwisenarrowfield.
As suchmy exploration of multiphonics is limited to the following two categories of
multiphonic production, which in my opinion, have the most potential to allow a
saxophonist to clearly convey harmony and provide a chordal accompaniment to
another musician, thus challenging the instrument’s traditional role in jazz and
improvisedmusic.
i. Multiphonicsthroughdisruptionofair-column/tubeii. Multiphonicsthroughmanipulationofthenaturalharmonicseries.
ThesearethetwomostcommonandrecognisedformsofmultiphonicproductionandI
think they are most useful to this research considering the resulting sounds have a
greateruniformityoftonecolourandcharactermeaningitismorelikelytheycouldbe
perceived as chords and not just sounds. They are also both achieved through the
normal physics of the saxophone, utilising one resonator only (the tube/reed
mechanism) as such not requiring external sources of sound or learning of new
techniquessuchassinging/vocalisingetc.
How & Why Are Multiphonics Produced?
Whilstdissectingthephysicsofmultiphonicphenomenawithregardtothesaxophoneis
notinsidethescopeofthisresearch,Ithinkabaselevelunderstandingofjusthowand
whythesesoundsoccurisextremelyimportant.
TorbenSnekkestad’sexplanationin“ThePoeticsofaMultiphonicLandscape”(2016)is
particularly insightful. He first explains how sound is physically produced on a
saxophone.
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"The saxophone functions bymeans of a tube-reed system,where the tube is theinstrument itself. The player supplies a source of air, which in turn vibrates theinstrument’s reed. This creates a pulse of positive pressure traveling through theinstrument until an open end is reached, atwhich point excess pressure drops tozeroandanegativepressurepulsetravelsbacktotheoriginalsource,wherethereis nowa closed reed. The sameprocess occurs now in reverse, as the closed reedsends a negative pulse traveling to the open endanda subsequent positive pulsecomingbacktothestart,pushingthereedopenandlettinginmoreair.Thiscycleofpositive feedback is what produces continual sound as long as an air stream issupplied.”
Pitchisthendictated,notbytheresonator(reed)butbythelengthofthetube,whichis
altered of course by closing or opening keys on the saxophone. If all of the keys are
closed, the tube of the saxophone is the longest it can be thus producing it’s lowest
possiblepitch,askeysareliftedfromthebottom,thepitchrises.Hecontinues;
“When a woodwind instrument produces a note perceived as a single pitch, aspectral analysis of the notewill reveal several partials. The frequencies of thesepartialswillberegularlyspacedandwillformpartofaharmonicseries.Thatistosay; the frequenciesof thepartialswillallbe integermultiplesofa ‘fundamental’frequency(onlypuresinewavetoneslacktheseovertones).”
Figure 1: Overtone series on the saxophone starting from the fundamental tone of low Bb
“With a multiphonic, however, the sonority is perceived as several pitches. Themultiphonic is caused by a combination of specific fingerings, oral cavityadjustments, embouchure alteration and air stream velocity. The result of theseexternalmanipulationsisthesoundingoftwoormoredistinctpitchesatthesametimefromasingleresonator.”(Snekkestad,2016,p.16)
Said simply, a multiphonic occurs when the normal airflow and pressure in the
instrumentisdisrupted,usuallybycreatinganextraopening(i.e.liftingakey),soasto
split the pressure inside the tube and create two distinct tubes resulting inmultiple
perceivedpitchesnotnecessarilyrelatedthroughtheharmonicseries.Withthatbeing
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said,amultiphonic,underthedefinitionaboveforthisresearch,canbeproducedusing
any fingering (including standard ones), by manipulating airflow, oral cavity shape,
tonguepositionandembouchureallowing twoormoreharmonicpartials tobeheard
simultaneously.
Fingerings & Classifications
"TheTechniquesofSaxophonePlaying"(Weiss&Netti,2010)wasaninvaluableresource
for thisresearch. Thebook iswritten forperformersandcomposersandoutlines the
extended sonicpossibilities of the saxophone, how they areproduced, performedand
expressedonpaper.Amongstotherthings, thisbookcontainsanextremelyusefuland
comprehensive catalogue of multiphonic possibilities (for soprano, alto, tenor and
baritonesaxophones),includingfingeringsandclassificationsbasedontimbre,volume,
easeofproduction,andintervallicrelationshipsetc.
Theseclassificationsareasfollows:
• FirstLevelo A-layerofnaturalovertonesoverafundamental(i.e.overtones-regular
fingerings,nodisruptionintube)**Allothercategorieshavefingeringswhichdisrupttheair-column-effectivelymakingtwotubes.
o B-soundwithstrongoscillationo C-widedyad(twonotes),stableo D-aggregateoftwoormorepartialsoverafundamentalo E-narrowdyad
• SecondLevelo Ba-detunedoctaveandtwelfth,creatingstableoscillation,openandfast;
p-ffo CE-dyadbetweenafourthandfifth,stable;pp-po Ce-dyadbetweenaminorsixthandseventh,stable;pp-po Cb-approximatelyoneoctave,withthepossiblepresenceofatwelfth,
usuallyunstable;pp-po C-betweenaminorninthandaneleventh,stable;pp-mpo D/B-widemultiphonic,usuallybuiltonaminorninth,partlyoscillating;
mp-ffo Da-widemultiphonic,usuallybuiltonaninth(alsotenth,thirdorfourth),
stable;p-ffo E-thirds;ppp-p
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o Eb-seconds,asminorsecondsusuallyoscillatingstronglywiththepossiblepresenceofalowfundamentaltone;ppp-mp(Weiss&Netti,2010,p.65)
There is a lot of useful information in thiswritten representation from the book. The
specificmultiphonic fingering isrepresentedintwoways; firstly inthediagramwhich
showsshadedcirclesforkeysclosedand"Bb"indicatingthelowBbkeyisclosed,and
secondlywiththecode"S/Bb-7"whichtellsus-SopranoSaxophone,LowBbfingering,
takeawaythe7thfinger(i.e.thelowCkey).Finallythemultiphonicisdisplayedvisually
intermsofitsintervallicmake-up,itsclassification(listedabove)andwhatvolumeand
pressureisrequiredtomakethemultiphonicspeak.
Using this catalogue asmy primary resource for discovering and experimentingwith
multiphonic fingerings Iwas able to dissect those,which inmyopinionhad themost
potential to convey harmony on the saxophone. It is important to note that I was
lookingspecificallyformultiphonicsthatproduceperceivedpitchesthatfitmoreorless
insidestandardequaltemperamenttuningsoastobeableexplorehowtheycanbeused
functionallyaschordsforaccompanimentofanothermusician.1
Inordertomaketheseparticularmultiphonicsmoreaccessible,Ihavechartedthemout
in classifications based solely on the intervallic relationships of the resulting sounds,
1 Thisisnottosay"detuned"multiphonicsormicrotonalharmonyingeneralcouldn'talsoachievethisresultbutforthescopeforthisresearchislimitedto(moreorless)equaltemperamenttuningwherepossible.
Figure 2: Example 1 from "The Techniques of Saxophone Playing" (Weiss & Netti, 2010, pg.68)
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essentially re-categorising and limiting the comprehensive catalogue ofWeiss&Netti
thatsimplylistsallpossibilitiesfromlowestfundamentalpitchtohighest.Thefullsheet
canbefoundinAppendixF1.Mylistgroupsmultiphonicsintothreecategoriesbeing;
1. Dyads(tworesultingpitches)-**sub-categorisedintospecificintervals2. Triads(threeresultingpitches)3. Chordscontainingfourormoreresultingpitches2
In “PoeticsofaMultiphonicLandscape”(2016), Torben Snekkestad consciously avoids
utilisingtheavailableliteratureandmultiphoniccataloguesincludingtheextensivelist
from“TheTechniquesofSaxophonePlaying”, insteadsuggestingthatexperimentingand
making personal classifications of the sounds is amore effective strategy considering
howmuch of an impact different saxophones,mouthpieces and reed choices have on
thesesounds.WhilstIagreewithhispremise,forthisresearchitwasessentialtotake
advantage of this resource in particular to find out first what the harmonic/chordal
possibilitiesaretheoretically.Howeveritcouldalsobesaidthatmyre-categorisationis
thestartofapersonalcatalogueofthesesounds.
Below is a table describingmy findingswith regard tomy personal categorisation of
these multiphonics. This table is a useful aid to help flesh out the full sheet of
possibilitiesinAppendixF1.
Category Description
1. Dyads Ingeneraldyadscanonlybeachievedataverysoftvolumeandrequire specific embouchures, tongue positions, oral cavityshapes&airpressurestomakethemspeak.
a. NaturalHarmonics(Perfect5thOR12TH)
Saxophonistswill be familiarwith practicing overtones. Whilstnormallytheaimwouldbetoisolatedifferentpartials,here,onemustmake stable the threshold pointswhere twopartials bothsound – themost accessible and useful is the fundamental andthesecondpartial(i.e.Octave+5th/12th)ORthefirstandsecondpartial(Perfect5th).
These can be temperamental and often the multiphonic willcollapse into either the fundamental or the second partial in
2 ThisclassificationsheetcanbefoundinApendixF1.Fortriadsandwidermultiphonicsitincludessomesuggestionsofchordswhichthesoundscouldpotentiallyemulateorrepresent.
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isolationwithoutproperairsupportandtongueposition. Inmyexperience,IfindthatIneedtoraisethetongueanddirectmyairdowninordertomakethemspeak.Howeverwhenitsoundsitisaverystrongandgroundingpresence,as itresemblesa"powerchord”.Itcanbeachievedatdifferentvolumesandisoneoftheonly dyads which can be produced at a louder volume in myexperience-howeverwhenyougetloudermorepartialstendtocomeoutwhichdefeats thepurposeof treating thisoptionasadyad(itturnsintosomethingelse).
b. Minor3rds Thesearemy favouritesub-categoryofmultiphonicsbecauseoftheir relative ease to produce, their stability and also thebeautifuleerinessof their timbre. Alsominor thirdscanhavealotofusefunctionallyasharmony.
Eachoftheseisslightlydifferentintermsofhowtoproducethembut in general I have found that their needs to be a feeling ofspace and relaxation in the mouth and lots of air is needed. Italmost feels like sub-tone embouchure isnecessary for someofthese. Also they can only produced at quiet or extremely quietvolume. Ifplayed too loud theywilleithercollapse intoasinglepitch or produce higher partials/notes (i.e. creating differentcategoryofmultiphonic).
c. Major/Minor6ths
TheseareusefulinthesamewaythattheMinor3rdmultiphonicsaboveareusefuldueof theirharmonic functionality.Essentiallyyoucanutilise them insimilarwaysharmonicallyas it's justaninversion of the 3rds however these aremuchmore difficult toproduce and are not very stable multiphonics. To produce themultiphonic you need to be at an extremely low volume and ithelps to enter the multiphonic from either the bottom or topnote.Forthatreasontheycouldbeutilisedinamoreatmosphericpiece but if they need to be performed in time it can be verytricky.
d. Major7ths Thesamecouldbesaidforthissub-categoryascouldbesaidforthe6thsabove.Manyofthesecanonlybeproducedatsuchasoftvolumeitmakesthemnearlyobsoleteandreallyonlyuseableastexture. The few with lower fundamental notes are a bit morestable.
e. Major/Minor2nds
These are some of themost compelling and beautiful soundingmultiphonicsinmyopinionbecauseofthetexture/timbreoftheproducedsound.Asthenotesaresoclosetogetheryoucanreally
23
heartheoscillationbetweenthetwonotesoccurringwhichaddsabeatingpulsetothesound.Againthesecanonlybeproducedatextremely low volume and most of them require the sub-toneembouchure as discussed for minor 3rds above. As far asharmonic function,minor 2nds have the possibility of outliningmajor 7th chords (7th + root) and a variety of others - majorsecondscouldfunctionthesamewayforminor7thanddominant7thchords.Ofcoursethisalldependsonthecontextofthemusic.
f. Minor9ths Intermsofstabilitythissub-categoryofdyadsisoneofthemorestable of the bunch. Because of the physics of the saxophone,manymultiphonicsarebuiltofftheintervalofaminor9th,givingthemtheirnotoriousdistortedanddissonantsound.Whensomeofthesefingeringsareusedwithverysoftvolumeyoucanisolatethisminor9thanditcanbeanextremelyhauntingsoundtexture.Onefunctionalharmonicuseistoconsideradominantb9chord(giving you the root and b9). These of course could also beinverted major 7ths opening up some other functionalpossibilities.
2. Triads Thesetriadsaregenerallyachievedatamediumtoloudvolumeandrequirefasterair-flow,raisedtonguepositionandalittlebitof increased pressure upward and forward from the bottomjaw/lip so as to allow for the higher frequencies of the reed tovibratemorefreely.
Thereareafewofthesetriadsthataretrulyintunemajortriads(some in inversion), which have a brilliant tonal characteristicandbrightquality. Themorevolumeusedthemore“distorted”the tonal colourbecomes. Theotheronesareabitmorevaguewith regard to their functionality and usually built of a minorninthintervalmakingthemquitedissonant.
3. Chords Thisfinalgroupincludesthosesoundsthataremorecolloquiallythought of as multiphonics. The characteristic dissonance,distortion, harshness are apparent in all of these. They are themost stable multiphonics and speak best at medium to loudvolumes with a full and open oral cavity, fast air-flow, raisedtongue position to accommodate the higher pitches.Most of these multiphonics containing four notes do not fullyadhere to equal temperament tuning but in some cases themultiphonic can still give the “sense” of a chord despite somenotesbeing“outoftune”.
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3.1.2 CASE STUDIES :: EXAMPLES IN EXISTING MUSIC
The use of multiphonics in contemporary classical music and avant-garde jazz are
numerous however for this research I have decided to focus on particular examples
whichaim toutilisemultiphonicsasa sourceofharmonyor chordal functionandnot
merely for textural or novel effect. There aren’t toomany instances ofmultiphonics
beingused in thiswayhowever in theexamples that I chose to focuson, twodistinct
approachesorcompositionaltechniquesbecameapparent.
1. Useofmultiphonicsasharmonic/chordalpunctuation2. Useofmultiphonicstorepresentchordalmovement
The first approach utilises multiphonics within a regular monophonic (single line)
phrasesoastogiveaharmoniccontexttoparticularnoteswhereasthesecondapproach
utilisesmultiphonicsexclusivelyinordertorepresentchordsandchordalmovement.
Use of Multiphonics as Harmonic/Chordal Punctuation
Example #1 || John Coltrane “Harmonique”
JohnColtrane’scomposition"Harmonique"(seeAppendixD1,E1)fromhis1961release
"Coltrane Jazz" through Atlantic Records incorporates consonant and functional
multiphonicsintothemelodyofthetune,providingaharmoniccontextdirectlyrelating
tothechordchangesofthetune.
Thetuneiswrittenovera24barbluesformandusesacommonharmonicdevicewhere
thechordsalternatebetween theregularchordand thechordahalf stepup(e.g.C7 -
Db7insteadofremainingonC7).Themelodyitselfreallyemphasisesthisdevice,using
onlychordtones.
Coltraneuses threedifferentmultiphonics in this tuneand their function is always to
addconsonant"harmony"tosomeparticularmelodynotes.Itisclearthattheintention
isfunctionasopposedtotexturegiventhecontextoftheiruseasshownbelow:
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Whilstitisaninterestingsound,itseemsasthoughthesemultiphonicsareusedmostly
for novel effect rather than musical necessity. The tune would sound as strong or
probably stronger if the topnoteof eachmultiphonicwasplayedas themelodynote.
Thisismademoreapparentconsideringheisplayingwithaquartetandtheharmonyis
alreadybeingcoveredbytherhythmsection. Perhapsif thiswereasoloorduopiece
theeffectwouldbegreater.Anotherissueisthatduetothechosenmultiphonicsbeing
sodifficult toproduce,andhavingsucha fragileandethereal timbre, themelodyfeels
compromisedbecausethesoundofthemultiphonicissodifferenttohisnormalstrong
saxophonesound.Itleavesthesongfeelingabitwonkyandthemelodyunconnected.In
saying that, this piece shows the potential for how this approach could be utilised in
compositiontoeffectivelyportrayanintendedharmoniccontext.
Figure 3: Excerpts from transcription of "Harmonique" by John Coltrane
(ii) Bars 9 & 10 showing use of Dyad (A-C)
to outline F7 chord (3rd & 5th)
(i) Bars 1 & 2 showing use of Dyad of Db-
F to outline Db7 chord (root & 3rd)
(iii) Bars 23 & 24 showing use of Dyad (C-E)
to outline C7 chord (root & 3rd)
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Example #2 || Christian Lauba “Steady Study on the Boogie”
Anotherexampleofthisapproachappearsinthecontemporaryclassicalpieceforsolo
altosaxophone“SteadyStudyontheBoogie”writtenbyTunisianbornFrenchcomposer
ChristianLauba(seeAppendixD2).
Ofparticularinterestisthemainthemeofthepiecewhichisintroducedatthetopofthe
second page of the score, following the ethereal openingwhich explores extrememly
quietmultiphonictextures.Thepiecefromhereon,justlikein“Harmonique”above,is
essentiallywrittenovertheformofabluesandutilisesmultiphonicswithinarepetetive
singlelinephraseaschordalpunctuation. Laubadevelopsthisconceptthroughoutthe
piece, adding different variations on the theme and utilising different extended
techniquesaswell.
BelowinFigure4,isanexcerptfromthepieceshowingthefirststatementofthetheme.
There arenowrittenbar lines in thewholepiece so the annotations showwhere the
chordchangesandbar lineswould takeplace, clearlyshowing theblues form,here in
the key of “A” (transposed for alto saxopohone). The repeated phrase or ostinato is
sevenbeatsinlength,representingtwobarsinthetwelvebarbluesform.Thewritten
phrasingwouldsuggestonebarof4/4followedbyabarof3/4(asshownwiththeblue
bar lines)but this couldalsobe interpreted theoppositeway,having themultiphonic
alwaysarrivingonthestrongfirstbeatofeachbar.Infact,thisistheresultingeffectin
practiceastheearisnaturallydrawntothedistinctsoundingmultiphonicasapointof
stability.JustlikeColtranein“Harmonique”,Laubautilisesthreedifferentmultiphonics
tooutlinethethreechordsofabasicblueswhichare;
i. Dyadofminor3rd(C#,E):Representingrootchord“A6”(3rd&5th)ii. Dyadofmajor2nd(C,D):RepresentingIVchord“D7”(7th&Root)iii. Dyadofminor3rd(B,D):RepresentingVchord“E7”(5th&7th)
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Whilstthisexcerpthasa lotofsimilaritiestoColtrane’s“Harmonique”above, the idea
andconceptaremoreeffectivein“SteadyStudyonTheBoogie”fortworeasons.Firstly,
beingaworkforsolosaxophonewithoutaccompaniment,theuseofmultiphonicshere
servesamorevitalpurposeinprovidingachordalcontexttothemelodyasopposedto
“Harmonique” where the chordal context is already clearly apparent because of the
traditional role of the rhythm section in the music. Without accompaniment, the
multiphonics actually speak as chords and occupy a focal point for the listener to
percieve the intended harmonic context intended by the composer. Secondly, the
specific multophonics utilised are far easier to produce and are much closer in tone
colourtothenormalsoundofthesaxophone. Assuchthemelodyisnotcompromised
andisactuallyenhancedbytheuseofthemultiphonics.
Figure 4: Annotated excerpt from "Steady Study on the Boogie" by Christian Lauba.
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Use of Multiphonics as Representation of Chordal Movement
Example #1 || Dai Fujikura “SAKANA”
Adopting a different approach than the two examples above, Japanese composer Dai
Fujikura in his experimental contemporary classical work for solo tenor saxophone
“SAKANA”(seeAppendixD3,E2),utilisesmultiphonicsexclusivelytorepresentchordal
movement. He does this in a few different ways throughout the piece but most
interestinglyishisuseofpedalpoint.Figure5belowshowsanexampleofthisfromthe
verybeginningofthepiece.
Figure 5: Excerpt from "SAKANA" by Dai Fujikura.
HereheutilisestwodyadswhichhavethesamelowfundamentalnoteF#(transposed
fortenorsaxophone)andcreateswhatcouldbeconsideredavampin jazztermswith
the top note alternating and the bottom note continuing as a drone beneath.
Interestinglybothofthesedyadsareachievedusingthesamefingeringandrequirethe
performertomanipulatetheirtonguepositionandair-speedtoalternatethetopnote.
Whilstitcouldbearguedthatinandofitselfthispassagedoesn’tnecessarilyrepresent
chordal movement and is more likely intended to create an eery atmosphere, it is
equally as valid to suggest that if therewere anothervoiceormelodyover the top, it
would indeedbegin to be percieved as such. The vagueness and openness of the the
harmony could actually serve well as an accompaniment to a melody, putting the
saxophone in a non-traditional musical role. For instance a melody using the F#
phrygianmodeorBharmonicminorscalewouldfitperfectlyoverthisvamp.
-------------
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3.1.3 ARTISTIC APPLICATION || MEATSHELL
USE OF MULTIPHONICS AS HARMONIC/CHORDAL PUNCTUATION
Example #1 || Carrots (in Honey)
“Carrots (in Honey)” (see Appendix A1, B1) was the first Meatshell piece to
incorporatetheuseofmultiphonicsasasourceofaccompanimentandutilisesthem
(albeitsparingly)asharmonicpunctuation.Thesonghasafolk-esqueaestheticand
is largelycentered in thekeyofconcertpitchGmajor(Amajor forBb transposing
instrumentsliketenorsaxophone).Italsofollowsatraditionalsongformof“AABA”.
For the most part, the saxophone’s role is designed to provide a monophonic
harmony line for themainvocalmelodyhowever there are two instanceswhere a
multiphonic was utilised to fill out a chord and provide a harmonic punctuation
pointascanbeseenbelowinFigures6&7.Onlyonemultiphonicisutilisedinthe
piece,beingaminor3rddyadofC#&E(transposedfortenorsaxophone)howeverit
is used in two different chordal contexts to flesh out the harmony and provide
restingpointsforthemelodicphrases.
Figure6ontheleft,comesat
the end of the first “A”
section of the song as the
harmonyresolvesbacktothe
tonicchordofconcertpitchG
major. The saxophone
multiphonic is utilised here
as it outlines the 3rd and 5th
degree of the tonic chord as
well as supporting the vocal
melodybydoublingthe final
note. Figure 6: Excerpt #1 from Carrots (in Honey) by Meatshell
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Whilstonlyutilisedsparingly,thesemultiphonicsserveanimportantchordalaswellas
texturalfunctioninthispiece.Thesong’slyricsdescribethefeelingoflongingforhome
andassuchtheetherealtimbreandbeautifulyetfragilesoundcolourofthisparticular
multiphonicaddstotheexpressionandvulnerabilityofthesong.Theparticularsound
characteristics also create a homogenous blendwith the delicacy of the often-utilised
doublebassflageolets.
Example #2 || RJD
Unlike “Carrots(inHoney)” above, the saxophonepart in “RJD” (seeAppendixA2,B2)
essentially provides a full rhythmic and chordal accompaniment for the vocalmelody
anddoesso, inpart, throughuseofmultiphonicsaschordalpunctuation. Theexcerpt
below inFigure8, shows the “A” sectionof thepiece. Ascanbeseen, thesaxophone
groove/ostinatoisbasedonabrokenchordpattern,outliningtheharmonyofthepiece
which centres around concert pitch C minor. Whilst regular broken chord patterns
outlinechordsinamonophonicsingleline,thisgroovemixesboth,addingaconsonant
andharmonicallyrelevantmultiphoniconthe4thbeatofeverybarof5/8.Conceptually
it is very similar to Lauba’s “Steady Study on the Boogie” considering the repetive
rhythmic aspect however this groovemore clearly outlines the intended harmony by
addingastrongbassnoteatthestartofeachbarusingtherootofthechord.
Figure7ontheleft,occursinthepenultimate
phrase of the “A” section. Harmonically, the
phrasefinishesontherelativeminorchordof
G major, being concert pitch Emin7. Whilst
this is the same multiphonic utilised in the
first excerpt, it serves a different harmonic
functionhereoutliningthe5thand7thdegree
ofthechordwiththedoublebassplayingthe
3rd degree and the root note being heard in
thevocalmelody.Figure 7: Excerpt #2 from Carrots (in Honey) by Meatshell
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As can be seen in the annotated excerpt in figure 8 above, there are two different
multiphonicsbeingusedhere;aminor3rddyadofDandFandaminor3rddyadofC#
andE (both transposed for tenor saxophone). These two areparticularly useful here
givenhowprominentthesenotesareinthekeyofDminoranditsrelativekeys.Inthe
“A”sectiontheyareusedtohelpillustratefivedifferentchordsbeing;
i. DyadDandF:D-7(root&3rd),ii. DyadDandF:Fmaj6(6th&root),iii. DyadC#andE:Fmaj7#5(#5th&7th)iv. DyadDandF:C9sus4(9th&sus4th)v. DyadC#andE:C7b9(b9th&3rd)
Thissameconceptiscarriedthroughtothe“B”sectionofthepiecewiththeintroduction
of some differentwidermultiphonics for texture and voicing variation. These added
multiphonicsaretriadsandharmonicallypairperfectlytothetwooriginaldyadsinthe
piece.
§ 1stpair:DyadDandF&TriadF,CandA
§ 2ndpaid:DyadC#andE&TriadE,C#andA
Figure 8: Annotated excerpt of "RJD" by Meatshell.
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As can be seen in the annotated excerpt in Figure 9 below, these triads are used in
tandemwith the original dyads in the groove/ostinato to outline the harmony of the
section,whichessentiallyutilisedchordsderivedfromaconcertpitchCharmonicminor
scale.
Thereisalsoonefinalmultiphonicutilisedattheveryendofthesectionwhichisafour
note chord, a category ofmultiphonic that is sparingly used to represent harmony as
mostof themdonot adhere to equal temperament tuningand sound toodistortedor
abrasive.Inthisinstancehowevertheparticularmultiphonic(despitethequartertones)
actuallyquiteeffectivelyoutlinestheA7b9chord.Whenplayedquietly,thehighernotes
arenotaspiercingandtheoscillationbetweenthefundamentalpitchAandtheminor
9thBbisthemostprominentsound. Thehighernotesarestilltherebutprovidemore
texturalthanharmonicvalue.
Figure 9: Annotated excerpts from “RJD” by Meatshell
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Thisbrokenchordgrooveideawhenmixedwithmultiphonicsisaveryeffectivewayof
accompanying anothermusician or even representingmultiplemusical ideas or roles
simultaneouslyonthesaxophone. Herein“RJD” itisparticulareffectivegiventhatthe
differenttextureandtimbreofthemultiphonicswithintheostinatolineactuallymakeit
sound as though there are distinct and separate interweaving parts and not just one
instrument.Thisconceptofvaryingtextureandtimbreistakenastepfurtherearlierin
thepieceaseachbassnote isplayedwithaseccoslaptonguearticulation,givingeach
note a thudding quality. This will be discussed more in the percussive articulation
sectionofthisresearch.
USE OF MULTIPHONICS AS REPRESENTATION OF CHORDAL MOVEMENT
Example #3 || Lost
The intentionbehind “Lost” (seeAppendixA3,B3)was toprovidea complete chordal
accompanimenttothevocalmelodyusingonlymultiphonics.Thesong’slyricsdescribe
the feelingofbeing aloneand lost in anunfamiliarplace andas such themultiphonic
accompaniment was designed to cultivate tension and unease in the listener. The
harmony is not intended to be functional but intended to give some kind of non-
functionalchordalcontexttothevocalmelody.Thebeginningofthepiece,asshownin
Figure 10 below, features the pedal point technique utilised by Dai Fujikura in
“SAKANA”. Here it is used to create a dark and ominous undertone for the initial
statement of the melody, which is sung freely and rubato. The saxophone creates a
pedalpointonconcertpitch“D”whichbecomesthegroundingnoteofthesectionand
thenutilisestwodifferentandalternatingmultiphonicdyads,thefirstanoctave“D–D”
and then aminor 9th “D – Eb” to create a kind of vampwhere the bass note always
remains “D”. Thedissonantminor 9th interval and the intervallicmovement of a half
steparecompositionaldevicesaresynonymouswithfeelingsofdangerandtensionand
worktosimilarresulthere. Whatmakesthisevenmoreeerieandeffectiveisthatthe
vocalmelodyusesnotes from concert pitch “Eb” Lydian scale, completely juxtaposing
the“D”pedalpoint,addingtothisunsettlingtension(thiscouldalsothenbeperceived
as being a melody using notes from the locrian mode although this was not the
intention).
34
The next excerpt, below in Figure 11, occurs after the big climax of the piece and
operates as a final coda to themelody. The piece is one again grounded in a kind of
pedalnote,herebeingconcert“Ab”,howevertheinterestingresultingharmoniesfrom
the combination of voice and saxophone multiphonic occur at the final note of each
phrase. Firstly themelodynote“A”onthesylable“sent” isharmonisedwithaminor
thirddyad“C–Eb”creatingadiminishedtriadandthenfinallythemelodynote“Bb”on
thesyllable“eyes”isharmonisedwithaminorthirddyad“Bb–Db”leavingasomewhat
ambiguousendingtothepiece.
Figure 10: Excerpt from "Lost" by Meatshell
Figure 11: Excerpt from "Lost" by Meatshell
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Asidefromthechordalandharmonicimplicationsofthemultiphonicsbeingutilisedas
anaccompanimentforthevocals,theinherentunfamiliarandetherealsoundquality,of
thesequietdyadsespecially,reallyaddsmusicalvaluetothispieceinthewaythatitsets
themoodforthesongbycultivatinganuneaseinthelistener.
Example #4 || Stones
The intentionbehind“Stones”(seeAppendixA4,B4)wastocreateacompletechordal
accompaniment for the vocal melody utilising only multiphonics, however unlike in
“Lost” above, the goal was to represent the harmony in a functional way and have it
percieved as such by the listener. The song is centred in the key of concert pitch A
minor(BminorforBbtransposinginstrumentsliketenorsaxophone)andthemelodyis
constructedintwophrases,thefirstusingnotesfromtheconcertpitchAnaturalminor
scale/aoelianmodeandthesecondusingnotesfromconertpitchBbmajormajorscale.
The chordal movement directly refelcts this as can be seen in the annotated excerpt
belowinFigure12,whichisthefinalstatementofthemelodyandthefinaleofthesong.
Figure 12: Excerpt from "Stones" by Meatshell
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Thechordalmovementisquitestaticandforthemostpartvampsbetweentwosounds
outliningconcertpitchAminorandAminor11chords.Thisissimilartothetechnique
utilised by Fujikura in “SAKANA” above but without the use of pedal point. In my
opinionthemultiphonicsutilsedreflectandconveythechordalcontextquiteeffectively.
This is mostly because of the use and manipulation of the natural harmonics of the
saxophone as multiphonics which strongly ground the music in both in the keys of
concertpitchAminorandBbmajorrespectively ineachphraseasthesemultiphonics
create a the interval of a perfect 5th or 12th which is one the strongest harmonic
relationships in music. Another thing which is quite effective is the use of the two
multiphonicsonbeatsthreeandfourofthefourthbarintheexcerptabovetocreatea
voiceleadinglinethroughdifferentvoicingsofthesamerepresentedchord.Thisisrare
to find considering the inherenet limitations inmultiphonic possibilities but this is a
greatexampleofthepossibilities.
Theonlycuriousmultiphonichereoccursatthestartofthesecondphraseasthelowest
noteisaconcertpitch“E”whenthechordis“F”major.Whilstthisisfunctionallynotan
acuraterepresentationoftheintendedharmonyofthesong,sonically,theconcertpitch
“F” is actually the more prominent note in this particular multiphonic giving a
heightened sense of importance. The concert pitch “E” essentially functions as a
suspensionwhichresolvesintheconcertpitch“Bb”majorchordwhichfollows.
__________________________________________________
Figure 13 (cont.): Excerpt from "Stones" by Meatshell
37
3.2 | | SUB-QUESTION #2 | | How can exploration and utilisation of
percussive articulation in composition and performance challenge the
saxophone’s traditional role in jazz and improvised music?
--------------
Fundamental concepts of single tonguing and common articulations such as legato,
staccato,marcatoareveryimportantstartingpointsfordevelopingarangeofpossible
expressionsonthesaxophone.Beyondthishowevertherearemanyextendedformsof
articulation, which allow the performer to venture into different sound worlds and
occupydifferentfunctionsinthemusicmoreeffectivelyandconvincingly.
“Articulation letsmusic speak, determines the creationof the toneanddelineates
themetricrelationshipswithinthemusicaltext” (Weiss & Netti, 2010, p.143)
3.2.1 WHAT IS PERCUSSIVE ARTICULATION?
Percussive articulation is not a widely acknowledged term in the saxophonist’s
vernacularbutinthecontextofthisresearchbroadlyreferstoanyextendedarticulation
thatgivesapercussiveorstrikingeffecttoanoteproducedonthesaxophone,themost
commonofthesetechniquesbeingthe“slaptongue”.Whenusedcreatively,percussive
articulationsallowsaxophonists toenhance thesoniccapabilitiesof the instrument to
imitatethesoundcolours,texturesandapproachesofadrumkitandbass,creatingthe
possibilityofoccupyinganaccompanyingroleinthemusicmoreconvincingly.
Types of Articulations & How They Are Produced
Articulation #1 || Slap Tongue
As the name suggests, this technique produces an extremely harsh and percussive
articulation,muchmorethantraditionalstaccatoormarcatotonguing. Theslaptongue
articulationisproducedbyfirstpressingthetongueagainstthereed,manipulatingitto
createavacuumofairbetweenthetwo.Oncethetongueessentiallysealsthereed,itis
then harshly pulled away from the reed, exploding with the "t" consonant sound,
releasing thevacuumofairandpushing thepent-upairpressure fromthediaphragm
throughthesaxophone.
38
There are three different variations of the slap tongue technique, all of which have
differentpercussive soundqualitiesandaffect thenoteson the saxophonedifferently.
Thesewillbediscussedfurtherbelow.
i. Standard Slap Tongue
Thestandardslaptonguearticulationisessentiallyproducedasdetailedaboveandafter
theinitialharsharticulationhasbeenexecuted,regularbreathandairflowcontinues.In
thisway,thearticulationfunctionsasan“over-the-top”emphasisandcanbeutilisedto
createanunexpectedshockingaccentduringalongnoteorphraseortomakeextreme
accentuationsonparticularnotesinalineakintoadrummer.
i i. Secco/Closed Slap Tongue
Theseccoslaptonguearticulationisproducedinexactlythesamewayasthestandard
slaptonguearticulationwithoneimportantdifference.Insteadofcontinuingtheairflow
aftertheinitialattack,theairflowisstoppedimmediatelyinconjunctionwiththeattack.
Since little to no air gets pushed through the instrument, only the sound of the
percussive attack is presentwith a faint yet still discernible pitch. The timbre of the
soundisdryandhasawashed-outalmostwoodentexturetoit.Thefaintpitchmoreor
lessalignswiththefingeredpitchthattheperformerexecutesatthetimeoftheattack3
andthetechniqueisespeciallyeffectivewithlowerpitchesasthenotesareclearerand
speak a bitmore than thehigherpitches.The resulting effect is almost like a cello or
double-bass pizzicato. It's also interesting to note that this articulation when used
togetherwithmultiphonicfingeringsproducesseveralperceivedpitchesinthistimbre.
i i i. Open Slap Tongue
The final variation is the harshest sounding articulation of them all. The open slap is
produced in the same way as the secco slap however, as the name suggests, the
performermustalsoabruptlyandfullyopentheirembouchureatthemomentofattack.
This creates a violent and percussive attack. There is discernible pitch however the
percussivenessoftheattacksomewhatcoversthisupandinanycaseitisimportantto
notethatduetotheembouchurebeingopened,creatingessentiallyashortervibrating
3 Although in my experience the resulting pitches are often quite a lot sharper than the fingered pitch. This usually has to do with the necessary increased upward pressure from the bottom jaw.
39
tube, the pitch that comes outwill not be the same as the pitch being fingered. The
resultingsoundisakintotheloudcrackofasnaredrumortheviolentsnappingofthe
“Bartok”pizzicatotechniquewhenutilisedondoublebass(Weiss&Netti,2010,p.147).
Articulation #2 || Tongue Ramming
This technique is often confused with slap tonguing but is actually achieved in the
completeoppositeway.Insteadofcreatingsuctionagainstthereedandabruptlypulling
thetongueawayfortheslaptonguetechnique,tonguerammingrequirestheperformer
to do just that, forcefully drive the tongue into the reed together with fast air-flow,
creatingablockage inthe instrument. Theresultingsoundisakintosomethingbeing
powerfullyjammedintoapipeandcreatesadarkthuddingaccentsomewhatakintothe
textureandsoundcolourofapluckeddoublebass(Weiss&Netti,2010,p.152).
Articulation #3 || Breath & Air Sounds
Althoughnotnormallyconsideredanarticulationbutmoreofan“effect”,airorbreath
sounds can actually add to the percussive palette of a saxophonist. Essentially these
soundsareproduced in theexactoppositewayofnormal saxophoneplaying,pushing
airthroughtheinstrumentwithoutmakingthereedvibrateenoughtoproduceanormal
pitch. These sounds are usually difficult to hear but can be reinforced by forming
differentconsonantsorsyllablesintheoralcavity,mostcomonly“s”,“sh”,“hr”and“hro”
(in order from brightest to darkest sound). The texture or sound colour ranges
anywherebetweenahissatthebrightestendandwarm,slowwindatthedarkest.The
soundscouldbeutilisedtoemulatecymbalsounds(Weiss&Netti,2010,p.161).
--------------
3.2.2 CASE STUDIES || EXAMPLES IN EXISTING MUSIC
Percussive articulations have become more and more prominent in contemporary
classical,improvised,jazzandnewmusicgenresasawayforperformersandcomposers
toexpressrhythmicalconceptsanddrumtexturesonthesaxophone,allowingittomore
convincingly occupynon-traditional and accompanying roles in themusic. Below are
severalexamplesthatutilisethesetechniquestosuchanend.
40
Example #1 | “Billy Goat Stomp” Stump Evans (solo)
Aninterestingexampleofthestandardslaptonguetechniquebeingusedintraditional
jazzmusiccomesfromc-melodysaxophonistStumpEvans’soloonthe1927recording
of “Billy Goat Stomp” (see Appendix D4, E3) as part of Jelly Roll Moreton’s Red Hot
Peppers. The slap tonguewas not awidely knownor used technique at this timeby
Evansutiliseditinhissolosfrequentlytoaggressivelyaccentuatedifferentnotesinhis
eighthnotelinestoimplyorsuperimposedifferentrhythmsortimefeelstogreateffect.
His solo begins at 1:38 in the recording and from 1:46 he can be heard accentuating
everyfourtheighthnoteinhisline,superimposingadottedeighthnotefeelagainstthe
quarternotepulseofthesongandessentiallyoutliningafouragainstthreepolyrhythm.
ThisisdepictedvisuallybelowinFigure13,courtesyofatranscriptionbysaxophonist
JosiahBoorzanian.Eachnotearticulatedandaccentedwithslaptongueismarkedwith
astaraboveit,clearlyshowinghowtheeighthnoteshavebeengroupedinthree,with
thefirstnoteofeachgroupbeingaccentuatedforclarityandpercussiveeffect.
Figure 13: Excerpt from transcription of “Billy Goat Stomp”by Jelly Roll Moreton
41
Example # 2 | “Rock Me!” Barry Cockroft
In his 2007 composition for solo alto saxophone “Rock Me!” (see Appendix D5, E4),
composerBarryCockroftutilisesvariousformsofpercussivearticulationto“capturethe
relentlessdrivingenergy,rhythmsandbeatsfoundinmanyformsofrockmusic”(Cockroft,
2007).4 Thepieceutilisesall threevariationsoftheslaptonguingtechnique,amongst
otherextendedtechniques, tomimicthesoundsofa fullrockband. Ascanbeseenin
Figure14below,thepieceisbuiltfromaonebarrepetitiverhythmicostinatoorgroove,
utilisingwhatCockroftreferstoasa“quasislap”articulationonthelowestnoteof“Bb”
(forEbtransposinginstruments). The”quasislap”isineffectalessharsh“seccoslap”
whichallowstheperformertoexecutecontinuousarticulationsatafasterpacestillwith
the samedry andwooden tonal colour. This ostinato is akin to the “bass line” of the
piece. After the initial statement a variation is initiatedby adding amultiphonic, still
articulatedwithslaptongue,onbeat two,producingadyadof “Bb”and“Ab”,strongly
groundingusinBbdominant7addingtothebluesyandrockatmosphere.Havingthis
variation on beat two, or the “back-beat”, also is used to imply a common rock drum
groovewiththelownoterepresentingthebassdrumandthemultiphonicrepresenting
thesnaredrum.Thisideaisthentakenfurtherlaterinthepiecewhenthenoteonbeat
twoisreplacedwithanopenslaptongue,creatingaloudcrackorpop,moreakintothe
soundofasnaredrum.
4Takendirectlyfromtheperformancenoteswhichaccompanythefullscorehttps://barrysax.com/composition/rock-me/
Figure 14: Excerpt from "Rock Me!" by Barry Cockroft
42
Thefulleffectofthiscompositionalstyleandapproachisthattheperformerbecomesa
kind of "one man band" as the performer takes on the function of the bass player,
drummerandchordalaccompanimentallsimultaneously. Thisapproachhasinspired
manyothersaxophonistandcomposersincludingDerekBrownwhohasdevelopedhis
own unique “beat-box-sax” 5 approach to the instrument, which essentially takes
Cockroft’sstyletoanotherlevel.
Example #3 | “Hide and Seek” Joshua Redman (intro)
Intheintroductionofhiscomposition“HideandSeek”(seeAppendixD6)fromhis1996
album “Freedom in the Groove”, saxophonist Joshua Redman utilises percussive
articulationinordertocreatea“callandresponse”dialoguewithhimself.Redmanuses
thiscallandresponseapproachinmanyofhisimprovisedsolosinwhichhewillplayan
idea in the low register of his instrument and respond with an answer in the high
register,creatingtheillusionofinteraction.Theeffectisheightenedin“HideandSeek”
throughtheuseofpercussivearticulation, inparticulartongueramming,toemphasise
thedifferenceintonalcolourbetweenthecallandresponse. Ascanbeseenbelowin
Figure15,Redmanestablishesaonebargroove in the lowregisterof thesaxophone,
performedwith the tongue ramming articulation, and then respondswith a virtuosic
bluesyfillinthehigherregister.Thisideaiscontinuedanddevelopedfurtheruntilthe
startofthepiecewherethebandcomesinandthedoublebasstakesoverthegroove.
5ForanexampleofDerekBrown’sapproachsee:https://www.youtube.com/watch?v=WjYSSWEmOeY
Figure 15: Excerpt from transcription of "Hide & Seek" by Joshua Redman
43
The juxtaposition of the thudding, almost plucked double bass sound of the tongue
rammingtechniquetoRedman’snormalbrilliantsaxophonesound,allowshimtomore
convincinglycreatethisillusionofdialogueandessentiallyaccompanyhimself.
--------------
3.2.3 ARTISTIC APPLICATION || MEATSHELL Example #1 | Refuge
“Refuge” (see Appendix A5, B5) is a song which is built off an underlying two bar
rhythmic and melodic ostinato or groove as can be seen in Figure 16 below. The
ostinatooccursaccrossonebarof4/4andonebarof5/4andisinthekeyof“Bb”(for
Bb transposing instruments like tenor saxophone). For the entirety of the first song
form, the saxophone occupies the accompanying role of the piece as the the vocal
melodyistheonlyotherpresentsound.
Utilising the dry and wooden timbre of the secco slap tongue technique, saxophone
emulatesthetonalcolourandfunctionofadoublebass,toasimilareffectasCockroft’s
“RockMe!” above. There is also an abnormal and uneven sense of call and response,
with the final twobeatsof thephrasealwaysplayedwithnormalsaxophonesound in
juxtapositionwiththepercussivenatureoftherestoftheline.Thegrooveisalsoplayed
with a “back-beat” feel in mind, made apparent by placing either strong accents or
juxtaposing tonal colours on beats two and four of both bars. In the first bar, a
multiphonicfingering(minor3rddyad“D”&“F”resultinginthe3rd&5thdegreeofthe
chordbeingaudible)isutilisedonbeattwoandastrongaccentonbeatfour6,andinthe
second bar the multiphonic is again played on beat two with the normal saxophone
soundresumedonbeatfour.Thisconstantchangeoftexturesgivesafinalresultwhich
6 Often in live performance I will execute an open slap tongue here to make the idea even stronger and clearer.
Figure 16: Excerpt from "Refuge" by Meatshell
44
encapsulates, albeit abstractly, the fundamental harmonic, rhythmic and textural
underpinningsoftheentirepiece,creatinga“onemanband”situation,againnotunlike
“RockMe!”initsintention.
Thisconceptisexpressedevenmoreclearlylaterinthepiecewhenthetonalityshiftsto
“F#7”(forBbtransposinginstruments). Ascanbeseenbelowintheexcerptinfigure
17,Theback-beathereismademuchmoreblatantwiththeuseofthesamemultiphonic
(aminor3rddyadof“C#”and“E”,resultinginthe3rdand5thdegreeofthechordbeing
audible)playedonthesecondandfourthbeatofeverybarinjuxtapositiontothestrong
seccoslapsoundsontheotherbeatsandoff-beatsinthebars.
Example #2 | F@CE
“F@CE” (see Appendix A6, B6) is a songwhich is abstractly based on the traditional
verse-chorus formof songwriting. Thesaxophonehere, as in “Refuge”above, isonce
again performing the accompanying role with the vocal melody being the only other
soundpresent. Theformisabstractbecausealthoughthereare identifiableverseand
chorus sections,both the singerand saxophonisthave the freedomover thephrasing,
note lengthsanddevelopmentof thesounds, the intentionbeing that thesongwillbe
different every time allowing the performers to listen and react to eachother in the
moment to reflect the music and lyrics. This is especially true in the verses. The
beginningofthefirstverse isshownbelowinFigure18andascanbeseen, thevocal
melodyisveryabstractandopenforinterpretation.Thesaxophoneaccompanimentis
basedoffa6beatlongrepetitivegrooveutilisingthreemultiphonicstocreateatwopart
harmonicline,similarto“Stones”above.Theresultingchordalmovementisessentially
Figure 17: Excerpt from "Refuge" by Meatshell
45
a vamp going from Bb major to C major with a passing chord in between (for Bb
transposinginstrumentsliketenorsaxophone). Thestandardslaptonguetechniqueis
utilised to accentuate and articulate these multiphonics to allow the to speak
instantaneously.Aparticularlyniceeffectoccursasthesecondmultiphonic(dyad“F#”
& “G”) is artiulatedwith the slap tonguebut then slurred to thenext3rdmultiphonic
(dyad“C”& “G”)emulatinghowabassplayerorguitaristmightuse the “hammer-on”
technique.Interspersedinthegroovethesaxophoneplayerjuxtaposesthesoundswith
softaltissimoregisternotescreatingajarringyetplayfuleffect.
Thechorusofthissong,shownbelowinFigure19, is theonesectionwhichisalways
performedoncueof thevocalistaswrittenandprovidesastrongstabilityandclimax
point in the song. The section ismadeupof a sevenbeat longmelodicphrasewhich
repeats itself. The saxophone, again performs the accompanying role albeit with a
slightlydifferenttwopartharmoniclineutilisingmultiphonicsoutliningavampmoving
fromFmajor (withE in thebass) toBbmajor (forBb transposing instruments). It is
intendedthatthesaxophonepartmorecloselymimicsthetonalcolouradrumkithere
withseccoslapandopenslaptonguearticulationsbeingusedexclusivleyinthissection,
the open slap’s utilising the pitch “F” at the top of the keyed range of the saxophone,
creatingahighpitchedsnapsoundakintoasnaredrum.
Figure 18: Excerpt from "F@CE" by Meatshell
46
The resulting groove is a bit unorthodox, as the snare hit happens on the second
sixteenthnoteofbeatstwoandfourofthefirstbarandbeattwoofthesecondbarbut
theoveralleffectisagainthatofthe“onemanband”.
__________________________________________________
3.3 | | SUB-QUESTION #3 | | How can the exploration and utilisation of
circular breathing in composition and performance challenge the
saxophone’s traditional role in jazz and improvised music?
-------------
3.3.1 WHAT IS CIRCULAR BREATHING?
Whentryingtooccupynon-traditionalmusicalrolesonthesaxophone,oneglaringissue
arises;thedurationofthesoundisinevitablylimitedbybreath.Dependingonthenote
Figure 19: Excerpt from "F@CE" by Meatshell
47
or register of a passage7the average saxophonist’s duration would range anywhere
between 8 - 25 seconds. This of course isn't always a problem, not all forms of
accompaniment require continuous unbroken soundhowever on certain occasions an
interruptioninthesoundcanruinthemoodorintensityofapieceorimprovisation.It
alsoputsstrictlimitationsonthekindofsoundsandatmospheresonecancultivate.
It is because of this dilemma that traditional wind musicians from a wide variety of
ancientculturesdeveloped"circularbreathing",atechniquethatallowsawindorbrass
playertoproducecontinuoussoundforaslongasrequiredwithoutinterruption.Some
notable cultural and instrumental traditions that utilise circular breathing include
Balinese "suling" (bamboo flute), Egyptian "arghul" (double clarinet) and, one that is
veryclosetohome,theIndigenousAustralian"didgeredoo".8Inmodernwesternmusic,
the technique is being utilised more and more in contemporary classical, jazz and
improvisedmusic(McPherson&Philpott,2016).
How Is "Circular Breathing" Achieved?
Thename"circularbreathing" isactuallyquitemisleading. The implication is that the
performermustbreathin(throughthenose)whilstsimultaneouslycontinuingtobreath
outandpushairthroughtheinstrumenthoweverthisisnotphysicallypossible.
Circularbreathingisactuallyachievedbystoringpocketsofair in insideofthecheeks
andbypushingthisstoredairthroughtheinstrumentusingthemusclesincheeksand
mouthdisconnectedfromthenormalair-flow,allowingtheperformertoquicklyinhale
through thenoseand thencontinueblowingasnormal. Thestoredair in thecheeks
essentiallyoperatesasasecondaryairsupplythatisutilisedwhentheperformerneeds
totakeinmoreair.
The diagrams inFigure20belowdepict this process as it applies to the didgeridoo9.
Thegeneralprinciplesarethesameforallwindandbrassinstruments.
7Differentregistersrequiredifferentamountsofairpressure,speedandsupporttomaintain.8Musicintheseculturesoccupiesceremonial,spiritualandcommunity(dance)functionsandisoftenverydroneheavywiththewindinstrumentoccupyingthisfunction-thedevelopmentofcircularbreathingallowedthesemusicianstoservethemusicinawaywhichwasbeforeimpossible.9Thesediagramswereretrievedfromhttp://www.didgeridoostore.com
48
Circularbreathingisquiteunnaturalformostwindplayersanditoftentakesaquitelot
of time to develop the required coordination and muscle memory to execute the
technique fluently, that iskeepingasmoothandcontinuoussoundwithout fluctuation
or break. Despite this the technique is widely acknowledged to be akin to “riding a
bike”; although it takes several months to become fluent, once mastered, constant
maintenanceisnolongerrequired.
Circularbreathingisgenerallylearnedinsteps;firstawayfromtheinstrumentinorder
to develop a general awareness of the necessary physical processes after which the
transition to the instrument can occur more easily. A common preliminary exercise
utilisesaglassofwaterandastrawwiththeobjectivebeingtoblowthroughthestraw
STEP1:Playnormallywithregularbreath
whilststoringairincheeks
STEP2:Closeoffairsupplyfromlungsanduse
mouthmusclestopushstoredairthrough
instrument
STEP3:Whilstpushingstoredthrough
instrument,inhalethroughthenose
STEP4:Resumeairsupplyfromlungs.Repeat
allstepsasnecessary
Figure 20: Depiction of physical process of circular breathing as shown on a didgeridoo
49
andkeepthewaterbubblingcontinuouslywithoutbreakbycircularbreathing.10Thisis
agreatstartingpointbecausethestrawhaslittletonoresistanceandassuchlessairis
requiredtokeepthebubblesgoinghoweveroncethetransitiontothesaxophoneoccurs
theperformermustthenbeconcernedwithprovidingthenecessaryforce,pressureand
speed of air to counter the resistance of the saxophone andmake the reed not only
vibrate but continue to seamlessly vibrate in the same way as if the breath was
continuingtocomefromthelungs.
--------------
3.3.2 CASE STUDIES :: EXAMPLES IN EXISTING MUSIC
The growing prominence of the circular breathing technique being utilised in
contemporary(morespecificallycontemporaryclassical)saxophonerepertoireoverthe
20thand21stcenturieshaspromptedmanysaxophoneprofessorsatconservatoriums
all over the world to now consider it an “essential” technique for their students
development (Taylor, 2008, pg.27). Whilst the same can not be said about jazz,
improvisedandcross-overmusicgenresbroadly, therearemanyexamplesof circular
breathingbeingutilisedbymusicians inorderoccupynon-traditional functionswithin
themusic.
In the chosen examples below, there are three distinct compositional devices which
benefitfromtheuseofcircularbreathingbeing;
i. Dronesii. BrokenChordPatternsiii. Ostinatos(whichcanbemanipulatedusingothertechniques)
All serve the purpose of utilising the saxophone provide the chordal, harmonic or
atmospheric context of the piece ofmusic aswell as inmany cases also providing an
underpinningconsistentpulseorgroove.
10TherearemanyvideosonYouTubeclearlyshowingthisexerciseoneexampleofwhichcanbeseenatthelinkhere:https://www.youtube.com/watch?v=qcyY0tsGm6A
50
Drones
Example #1 || “SAKANA” Dai Fujikura
Thefullanalysisof “SAKANA”(seeAppendixD3,E2)canbefoundunderthefirstsub-
questionaboveinsection3.1.2howeveritisimportanttomentionheretheimportance
of circular breathing in cultivating the atmposphere and effectiveness of the drone
sections in this piece, one of which is shown in below in Figure 21. Drones are an
effective musical tool especially in the creation of atmosphere or vague harmonic
accompaniment and it is an important function that the sound is continuous and
unrelenting.
Broken Chord Patterns
Example #2 || Bobby Bradford & John Carter “Woman”
In lieu of the possibility of playing full chords as an accompaniment, the circular
breathingtechniqueallowsanysingle line instrumenttoprovideacontinous“broken-
chordal” movement to effectively portay harmonic and chordal movement. Broken
chordsaresingle linemelodiesorpatternswhichspellout thespecific chord tonesof
the inteded harmony.11 A great example of this compositional technique in itsmost
simple and raw form is the composition “Woman” by clarinetist John Carter and
cornetistBobbyBradfordon their1996release “Tandem2” (seeAppendixD7). Here,
theclarinetplaysacontinousbrokenchordpattern,featuringfourrepeating16thnotes
to spellout the inendedchord, for theentiretyof thepieceofmusicwithoutbreakof
sound. Whilst the chords change, each change stays stagnant long enough for the
listnerseartobecomeaccustomedtothesoundandpercievethenotesaschords.The 11 As a compositional technique, broken chords have been utilised since the Baroque period, most famously by J.S.Bach.
Figure 21: Excerpt from "SAKANA" by Dai Fujikura
51
cornetistthenhascompletefreedomtosoloontopofthesechordchangesasheseesfit.
It couldhavealsobeen the case that amelody couldbeplayedover the samebroken
chordmovement.
Ostinatos
Example #3 || Colin Stetson “Like Wolves on the Fold”
ColinStetsonisoneofthemostinnovativesaxophoniststodaydueinlargetohisunique
andunconventionalapproachtotheinstrumentandhisabilitytooccupymanydifferent
musicalrolessimultaneously,mostnotablyinhissoloplaying.Histrademarksoundand
compositionalapproachhaveclearinfluencefromelectronic,houseandtechnogenres,
incorporatingperpetualanddrivingrhythmaswellasutilisingoneortwobarrepetitive
ostinatosasbuildingblocksforanentiresong. Circularbreathingplaysahugerole in
thisaestheticasitallowsStetsontomoreauthenticallyandconvincinglyportraythese
influences by having the sound and groove be continuous and unrelenting for the
completedurationofeachtrack.
Oneexampleofthisapproachcanbeheardinthetrack"LikeWolvesOnTheFold"(see
AppendixD8,E5)for solo tenor saxophone fromhis2017soloalbum"AllthisIdofor
Glory". Thepiece is built off a onebarostinatopattern in thekeyofCminor (forBb
transposing instruments) that is repeated continuouslyalbeit invarious forms for the
entiretyofthepieceasidefromafewsmallharmonicvariations.Thisostinatoisshown
belowinFigure22.
Figure 22: Excerpt from transcription of "Like Wolves on the Fold" by Colin Stetson
This ostinato is constructed to have the lowest notes (“C” and “Eb”), which could be
consideredhereasbassnotes,emphasisedasthestrongbeatsofthebar,creatingatype
ofclaverhythmwithtwogroupingsofthreeeighthnotesfollowedbyagroupingoftwo
52
eighthnotes. Thisisanextremelycommonrhythminpop,electronicanddancemusic
genresandservestogiveasenseof forwardmotionandpropulsiontothemusic. It’s
also important tonote that Stetsonutilisesmanycontactmicrophoneson thebodyof
thesaxophonetopickupthepercussivesoundsofthekeysclosingaddingtothisdriving
effectfurther.Therestofthenotesaretheretofillinthesoundthroughouttherestof
thebarandcreateanoverallfingerpattern,whichwillremainfortheentiretypiece.
Byitself,thislinewouldbecomerepetitiveandboringsoStetsonutilisesotherextended
techniquestomanipulatetheresultingsoundswhilstmaintainingthecontinuousfinger
patternanddrivingpulse.Thefirstwayhedoesthisisby“over-blowing”theinstrument
resulting in higher partials in the natural harmonic series of the saxophone being
audibleasopposedtothefingerednotes.AnexampleofthisisseeninFigure23below,
whereStetsoncreatesanentirelynewmelodywhilststillfingeringtheexactsamenotes
astheinitialostinato.
Figure 23: Excerpt from transcription of "Like Wolves on the Fold" by Colin Stetson
ThesecondwayinwhichStetsonachievesvariationisby“vocalising”orsingingthrough
the instrumentwhilstplaying. Normally, this createsadistortion typeofeffect to the
natural sound of the saxophone, called a “growl”. Whilst this certainly occurs here,
Stetsonalsoutilises a contactmicrophone strappedaroundhis throat so thenoteshe
singscanactuallybeheardasamelodyoverthetopoftheostinatoaswell.Assuchhe
essentiallyoccupiesallofthepossiblemusicalfunctionssimultaneouslyononeacoustic
instrument.
53
Figure 24: Excerpt from transcription of "Like Wolves on the Fold" by Colin Stetson (vocalising)
Finally,headdssomeharmonicvariancetothesonginafewplacesbutmakessureto
maintainextremelysimilarfingerpatterns,simplytransposingtheostinatoupordown
a half step as can be seen in Figure 25belowwhere it changes from Cminor to C#
dominantwiththedominant7thinthebass.
Figure 25: Excerpt from transcription of "Like Wolves on the Fold" by Colin Stetson
Stetson’sapproachisveryeffectiveincreatingacompletemusicalaccompanimentusing
thesaxophone.Whilstheutilisesthesaxophoneonlyasanacousticinstrument,thefinal
soundwhich isproducedcanonlybeachieved throughcreativeuseofmanydifferent
microphones,strategicallyplacedallovertheinstrumenttopickupandenhanceevery
littlesoundthatisbeingmade.Ifheweretoplaythiscompletelyacousticwithoutany
amplification,theresultwouldbeverydifferentandlesseffective.
Example #4 || Andrew Ball “Jengu”
Australian saxophonist and composer Andrew Ball’s debut solo album “Forbidden
Languages” extensively explores compositional applications of a whole plethora of
extendedtechniquesincludinginstrumentalpreparationsandaugmentations.
Inhis track “Jengu”(seeAppendixD9,E6),Ballutilises thesameostinatoapproachas
Stetson above, heavily utilising circular breathing to create a continuous and driving
groove and chordal presence to the piece. His version, as can be seen in Figure 26
below,utilisesaonebarmelodicostinatoin7+7(or14)/16.Theostinatoremainsthe
same throughout a complete 6 bar formwith only the bass note changing to create a
54
senseofchordalmovement(twobarsofC#,onebarofB,twobarsofA#andfinallyone
barofB).
Figure 26: Excerpt from "Jengu" by Andrew Ball
In thispiece,Ballutilisesmanyof thevariation techniques thatStetsonusedabove in
“LikeWolvesontheFold”,includingmanipulating thenaturalharmonicseries,butalso
takes it in a fewdifferent directions. Aside fromutilsing percussive articulations, as
showninsection3.2above,Ballisalsoabletocreateanewmelodyoverthethedriving
ostinato fingering beneath by opening certain specific keys on the saxophone, as
directedintheexcerptbelowinFigure27.Byopeningthesekeysandmaintainingthe
ostinato fingering simultaneously, a single note is percieved as themelodywhile the
drivingpulseoftheostinatoremains.
--------------
Figure 27: Excerpts from "Jengu" by Andrew Ball
55
3.3.3 ARTISTIC APPLICATION || MEATSHELL
Drones Example #1 || Lost
The full analysis of “Lost” (see Appendix A3, B3) with regard to multiphonics and
compositional techniques can be found in section 3.1.2 above however it is also
importanttosignifyheretheuseofcircularbreathingincultivatingtheconcertpitch“D”
dronethatactsasnotonlythevaguesourceofharmonyfortheopeningsectionofthe
compositionbut also theeeryatmosphericpresence. If the soundwere to stoporbe
interupptedforbreath,thetensionwhichissovitaltothepiecewouldbeinstantlylost.
Broken Chord Patterns Example #2 || RJD
Aswiththepreviousexample,afullanalysisof“RJD”(seeAppendixA2,B2)withregard
tomultiphonicsandcompositionaltechniquescanbefoundinsection3.1.2above.With
regard to this sub-question, this piece utilises circular breathing and a continuous
brokenchordpatterntocreatetheharmonicaccompanimentforthevocalmelody.The
broken chord patterns are clearly labelled in Figure 28 below with regard to the
relevanceofthechosennoteswithinthechordalframeworkofthesong.
Figure 28: Excerpt of “RDJ” by Meatshell
56
Ostinatos Example #3 || Broken Things
“BrokenThings” (seeAppendixA7,B7)waswrittenwiththestyleandapproachofthe
twoexamplesabove fromAndrewBall andColinStetson inmind. The intentionhere
wastoprovideasimpleaccompanimentaswellasahomogenousblendwiththedouble
bassbymaintainingacontinuousostinatofingerpattern,circularbreathingandutilising
thevariationtechniquesdiscussedabovetodevelopthemusic.Thechosenostinatoisa
one bar repeated phrase in the key of “E” minor (for Bb transposing instruments).
Insteadof beginningwith this ostinato in its pure andunmanipulated form, thepiece
startswiththesaxophonecreatingamelodyusingthekeyopeningvariationtechnique
employedbyAndrewBall in“Jengu”. Theconstantrhythmicaldrive isstillverymuch
apparent but a clear single linemelody can be percieved through this instead of the
regularnotesoftheostinato.
The effect of this technique is shown below in Figure 29, as the specific key to be
openedinconjunctionwiththecontinuationoftherepetitivefingerpatternisdisplayed
with a “+” in front of it.12 For instance, when the key “X” (front “F”) is added, the
resultingpitchrevolvescloselyaroundthepitch“E”. Startingthepieceinthismanner
actually created a lot of tension as there was a lot of fast movement but no clear
harmonic context. This tension served to set up the “drop” of the raw version of the
ostinatointhefolllowingsection.
12 Theshorthandforthespecifickeyshasbecomequiteuniformovertheyearsandforclarityhasbeentakendirectlyfromthefingering/keydiagramin“TheTechniquesofSaxophonePlaying”(Weiss&Netti,p.10)
Figure 29: Excerpt from "Broken Things" by Meatshell
57
Thepiecedevelopsinfewdifferentways,includingabreakdownsectionandabuild-up
where the ostinato is continuoulsy transposed higher and higher13however another
variation technique utilised is vocalisation as per Colin Stetson in “LikeWolveson the
Fold”.UnlikewithStetson,therewasnoenhancementofthevocalsoundsthroughclose
orcontactmicingsotheresultingeffectofthisvocalisationsimplycreatesadistortionin
thenormalsaxophonesound. Thisdoeshowever providesignificantvariationonthe
ostinato,addingintensityandtexture.
Despite theactualsungnotesnotbeingaudible, theperformer isstill required tosing
specific pitches as can be seen inFigure 30 above. This is because singing different
pitchesinterfereswiththesaxophonesounddifferently,thuscreatingdiffernettypesof
distortion.
__________________________________________________
13 See Appendix A7 for the recording timestamp 3:39
Figure 29 (cont.): Excerpt from "Broken Things" by Meatshell
Figure 30: Excerpt from "Broken Things" by Meatshell
58
3.4 | | SUB-QUESTION #4 | | How can the exploration and utilisation of these three extended techniques be incorporated and developed into a
personal improvisatory approach?
-------------
As a kind of “side-project” for this research, four (4) duo sessions were conducted
betweenvocalistSebastianStertandmyself. Asidefromtheenjoymentofimprovising
witha friendandcollaborator, the intentionbehind thesemeetingswas toexplorean
alternative and purely improvised artistic application of the knowledge and practical
skillslearnedfromthisresearchprojectandtoseeifandhowmyintuitiveapproachto
freeimprovisationaswellasimprovisingoverjazzstandardshaschangedordeveloped
toperhapsincorporatethetechniquesandcompositionalapproachesaboveasaresult.
Thissub-questionwastackledfromapurelyintuitiveandpracticebasedapproach.The
full sessions and resulting tracks, links to which can be found in Appendix C, are
analysedinthefollowingsub-sections,outliningnotonlythetheoreticalunderpinnings
of the musical outcomes but also with regard to how the three chosen extended
techniquesofthisresearchprojectwereorwerenotutilisedandwhethertheyallowed
thesaxophonetooccupynon-traditionalmusicalfunctionsmoreeffectively.
Thetablebelowshowsthefullresultingtracklistfromthefourseparatesessionswith
Sebastian. There were two distinct focuses being (a) free improvisation, and (b)
improvisationover jazzstandards. Wedecidedtofocusononestandardinparticular,
being“TheySayIt’sWonderful” by Irving Berlininordertodocumenthowourapproach
evolvedovertime.
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SESSION TRACK DESCRIPTION
Session#1
14OCT2019
Track1:
Track2:
Track3:
Track4:
Track5:
FreeImprovisation#1
FreeImprovisation#2
FreeImprovisation#3
TheySayIt’sWonderful#1
TheySayIt’sWonderful#2
Session#2
17DEC2019
Track6:
Track7:
TheySayIt’sWonderful#3
FreeImprovisation#4
Session#3
15JAN2020
Track8:
Track9:
Track10:
Track11:
FreeImprovisation#5
FreeImprovisation#6
FreeImprovisation#7
FreeImprovisation#8
Session#4
28JAN2020
Track12:
Track13:
TheySayIt’sWonderful#4
TheySayIt’sWonderful#5
3.4.1 FREE IMPROVISATIONS SESSION #1
The improvisations fromour first sessionwere approached completely freelywithout
any musical limitations or parameters. Personally, I was determined to utilse the
techniquesthathavebeenthesubjectofthisresearchandassuchIdecidedtofocuson
oneparticulartechniqueineachimprovisation.
Free Improvisation #1 (see Appendix C1) revolved exclusively around the use of
multiphonicsasanunderlyingchordalvampandbedofcontinuoussoundforSebastian
tosingfreelyoverthetopof.Thechordalmovementinthisimprovisationwasactually
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laterdevelopedintothesong“Stones”forMeatshellasdiscussedaboveinsection3.1.3.
Therewasno realmusicaldevelopment in this trackand for themostpart themood,
soundsandvibe stay stagnant throughoutwithSebastian switchingbetween, soloistic
melodicphrases,homogenouslongtonesandpulsatingbassnotes.
Free Improvisations #2 & #3 (see Appendix C2-3) were based mostly on percussive
articultion, featuring short and sharp attacks anddynamic rhythmic interply between
Sebastian and myself. Shared pulse and grooves were also strong features of these
improvisations. Sound-wise,Sebastianand I complimentedeachotherhere, creatinga
homogenousmixof sounds,Sebastianutilising “popping”and“breathy”vocal textures
andmyself exploring the juxtaposition of the thudding tongue ram technique, hollow
secco slap and violent open slap tongue. I also experimented here with using slap
tonguearticulationwithmultiphonicfingeringsaddingasubtlelevelofchordalfunction
totheimprovisationakintothestylewhichbecamethebasisfortheaccompanimentin
theMeatshellsong“F@CE”discussedaboveinsecion3.2.2.
Interestingly,inalloftheseintitialimprovisationsneitherSebastianormyselfadopteda
traditionalmelodic or jazz soloist role, both instead exploring texture and reacting to
eachothertocreatehomogenoussoundworlds.
SESSION #2
For our second session we approached our free improvising using some abstract
thematicmaterialwhichwastobeconsideredandexpressedpersonallyandcreatively
withinthecontext.Wedecidedupontwoideasorthemesbeing(i)“ping-pong”and(ii)
“waterflowingthroughahose”.Theideawastoactuallypictureimagesandmovements
relating to the themes inyourmindandplaysounds in response towhat thatpicture
means to you in thatmoment. InFree Improvisations#4(see Appendix C7)we used
thesetwothemestocreateastructure,agreeingtobeginandendwiththe“ping-pong”
idea and at some point move to the “hose” idea in the middle. At the beginning
Sebastian’sideaof“ping-pong”manifestedinagroovyconstantbasslinewithparticular
notesbeingemphasisedwhereasIwaspicturingaslowandmeasuredbuild-up,swing
andeventualstrikeofaballwhichmanifested inmultiphonicsstartingverysoftlyand
buildinginvolumeandintensitytoaclimaxpoint.Wethengot intoanideawherewe
werekindofgroovingtogetherpercussivelybutharshlyaccentingdifferentnotesas if
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we were hitting the ball back and forth mostly with percussive and abrasive
articulations.Atabout3:40itseemsasthoughwechangedtothe“hose”ideaasweboth
startedplaying long toneswithageneralmoodshift fromhectic to sereneas ifwater
was flowing smoothly ina stream. At4:30 it seemed tomeas if Sebastianwasgoing
back to the “ping-pong” idea so I alsowent back to thismorehectic texture from the
beginningbutwethensurprisinglywentbacktothe“hose”ideaat6:00firstlywithlong
tonesbutthenalsowithSebastianimprovisingsomelyrics.At7:30wefinallywentback
intotheoriginal“ping-pong”ideatofinish.
We found having these abstract themes, agreed intention as well as structure really
helpedcreateasolidarcandflowfortheimprovisation,allowingustoplayfor longer
and better develop ideas. The use of multiphonics and percussive articulation was
mostly used here for textural and atmospheric effect. This extended sonic palette
allowedmetomoreeffectivelyandcreativelyapproachtheimprovisation.
SESSION #3
Our third session together occured during a trip to New York with Conservatorium
Maastricht,whereweattended the2020 JazzCongress at theLincolnCentre amongst
other things. During this session, we decided to develop the “ping-pong” idea from
aboveinSession#2aswellasusethecityitselfasanewabstractthemetoplaywith.
Free Improvisation#5 (seeAppendix C8-9)were both based thematically on the
cityofNewYorkitself,it’srelentlessnoiseandhecticenergy.Itriedtocapturethisby
makingsurethesoundwasconstantandfranticwithanoverwhelmingfeelingofstress.
At thestartofFreeImprovisation#5 throughthe franticsoundyoucanhearechoesof
police and fire truck sirens, cars, jackhammers, subway sounds, achieved through
frequent changes and use of juxtaposing sounds created utilising circular breathing,
harmonics, fast passages of notes and slap tongue textures. After the breakdown at
around12:00,thereisashift inmoodastheimprovisationtookonabluesyandmore
traditional jazz tone. During this second half of the improvisation Sebastian and I
constantlychangedourroles,bothtakingonmoresoloisticandaccompanyingfunctions
as well as fully homogenous parts. A clear moment of the saxophone playing an
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accompaniment is around 21:00 where there is a clear groove established with
percussiveslap-tonguedbassnotesjuxtaposedwithveryhighnotes.Sebastianusedthis
groove to riff over the lyrics of “New York, New York”. This bluesy idea became the
concept for Free Improvisation #6. We used a general “bluesy” tonal framework and
playedalotwithtexture,goingforveryexpressiveand“dirty”sounds.Thereisaclear
grooveinitiatedbythesaxophonearound1:00,usingastrongbassnoteandresponding
bluesylinewithoccasionalexpressivefills,allowingSebastiantoimproviseinasoloistic
fashionoverthetop.
Theuseoftheextendedtechniqueshereagainwasmostlyfortexturalandatmospheric
effectasopposedtofunctionalpurposes.InthemomentswhereItookonatraditional
accompanying role, it wasmostly achieved through traditional modes of playing and
simplyplayingagrooveorrepeatedostinatoinanexpressiveway.
InFreeImprovisation#7 (seeAppendixC10-11)we furtherdeveloped the “ping-
pong” idea from our second session, actually in a sense simulating actual points or
matches,reactingonlytotheotherperson’ssoundwithregardtothespeedandpower
of the shot or return. InFreeImprovisation#7weplayed fourdifferent “points”. The
conceptwas toplayapoint to itsend,playonesoundata time,onlyplayingagain in
reactiontotheotherperson.Thiswasofcourseverydifficulttodowheninthemoment
asoftenwegotcarriedawayandwouldplaymultiplenotesorsounds.Ineachpointwe
decidedtomoveintoanew“soundworld”totryandcreatevariationandgetawayfrom
theobviousslap-tongueandpercussivesoundrangethatthe“ping-pong”ideanormally
inspired in us. This brought up the concept ofmelodic ping-pongwherewe tried to
makeamelodyonenoteata time inFreeImprovisation#8.Whilst I like theresult, it
was extremely difficult to make it sound like there was one melody and not two
melodiesinteractingwitheachother.
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3.4.2 IMPROVISATIONS OVER “THEY SAY IT’S WONDERFUL” SESSION #1
In our first session togetherwe performed two takes of Irving Berlin’s “They Say It’s
Wonderful”.WithSebastianresponsibleforsingingthemelody,Ihadanopportunityto
tryandfullyoccupytheaccompanyingroleinthemusic. InTheySayIt’sWonderful#1
(see Appendix C4), I found it extrememly difficult to break away from my natural
instinctwhichwasplaying“jazz”lineswhichoutlinethechordalframeworkofthesong.
Whilstthisiscertainlyagoodtoolwhichcouldbeusedtorepresentchordalmovement,
used in isolation it simplysoundsas though Iam filling in thespacearound thevocal
melody instead of actually accompanying it. It also doesn’t require any use of the
extendedtechniqueswhichhavebeenthefocusofthisresearch.
Asawaytoescapeoutliningallofthechords,wedecidedinTheySayIt’sWonderful#2
(seeAppendixC5)tomoveintoafreeimprovisationsectionafterthemelodyinsteadof
soloingoverthenormalchordchanges.ThiswasactuallyquiteeffectiveasIwasableto
establish a continous vamp utilising two multiphonics dyads which Sebastian then
improvisedover. Theessenceof thesongwasstillapparentharmonicallyconsidering
thechosenmultiphonicsweretwomajor7thdyads,thefirstEb&D,whichoutlinesthe
rootandmajor7thinthekeyofthesong,andfinallyanothermajor7thdyadasemi-tone
up.
OnthewholeIfoundthisinitialexperiencequitedifficultonanumberoflevels.Firstly,
I found it challenging to escape traditional notions of playing jazz music and find
creativewaystoimplementtheextendedtechniqueswhicharefocusofthisresearchin
a functional way. In fact the only time amultiphonic was used functionally in these
takeswastheverylastnoteinwhichIutilisedthemajor7thdyadofEb&D,outlining
therootandmajor7thofthefinalchord.Thiswasveryenlighteningwithregardtojust
howlimitedthesesoundsarewhentryingtorepresentchords.Secondly,Ifounditvery
difficulttofullyfollowSebastiansphrasingofthemelody.Toooftenmyimpulsetolead
the time in rubato sections took over and I would find myself ahead or behind the
melody.
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SESSION #2
As was the case for the free improvisations in this second session, we decided to
approachthistuneheremoreabstractlyandthematically.Afterlisteningtothefamous
versionof this songby JohnnyHartman& JohnColtranewebothexpressedan image
thatwascultivatedinourminds. Formeitwas lookingoutofawindowonamoving
trainandforSebastianitwasafarmerworkinginabigfield.Wetriedtopicturethese
imagesinourmindsforthedurationofthetake.Asidefromthiswealsodecidedtoplay
withthetwointervalswhich,reallydefinethemelody,beingadescendingminor6th(Bb
downtoD) followedbyadescendingmajor6thstartinga tonedown(G#downtoB).
Thesearethetwointervalswithwhichthelyrics“Wonderful”aresunginthemelody.I
can be heard playing around with these intervals in the introduction of the song,
transposingthemaroundthehorn.Ifounditverydifficulttoreallypicturethefarmer
andthetrainforthewholesongandafterawhileIjuststartedimprovisingandreacting
asInormallywould.Ithinkthisisclearafterthemelodyaround3:00(seeAppendixC6)
aswemoved intoamorepercussiveandgroovyapproach seeminglyoutofnowhere.
WiththatbeingsaidIlikewhathappenedhere. Sebastianwasbeingveryplayfulwith
thewordsandthewholeinteractionwasveryfunandabit“tongue-in-cheek”.
Whilstthisversionwasmuchmoreinterestingandinteractivethanourfirstattempts,I
stillnoticedthatIstruggledtofindafunctionalapplicationoftheextendedtechniques
which worked in the context of the song and again the only functional extended
techniquewasthemultiphonicutilisedforthefinalchord.
SESSION #4
Forthisfinalsessionweapproachedthetuneintwodifferentways.FirstlyinTheySay
It’sWonderful#4(seeAppendixC12)wedecided to focusonconstant tempoand feel
variationasaconcept.ThisrequiredSebastiantosingeachphraseinadifferenttempo
orfeelandIwastorespondandreacttohischangesinmyaccompaniment. Ifoundit
extremelydifficulttokeepthemusicflowingandtoooftenthemomentumishaltedas
we waited for each other or hesitated. Whilst my accompaniment style was akin to
previoustakeswedidofthissong,inthelast“A”sectionofthemelodyat2:14,Iplayeda
fast and continuous broken chordal line using circular breathing to outline the chord
changesakintopiece“Woman”byJohnCarter&BobbyBradfordwhichwasdiscussed
65
above in section 3.3.2. This style of accompaniment provided an interesting textural
shiftwhilstalsoexpressingthechordalmovementinadifferentway.
Secondly,inanattempttogetawayfromourhabitualapproachtothesong,wedecided
tocreateadifferentstyleofsoundbedforSebastiantosingoverandassuchcreatedan
ostinatopatternbasedonthemelodynotesofthe“A”sectionperformedasacontinuous
streamofeightnotes(seeAppendixC13).Thiscreatedatwobarloop(1barof4/4and
1barof7/8)overwhichSebastiansang themelody, free tophrase ithowhedesired.
The resulting sound creates an interesting juxtaposition between the irregular,
continuousanddrivingostinatoandthefree,rubatophrasingofthemelody. Italsoin
anessencereharmonisesthemelody.
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4. Conclusion & Discussion Throughtheexplorationandcreativeapplicationofthreeunconventionalandextended
instrumental techniques, this research has shown that the saxophone’s traditional
soloistic role can be challenged in a variety of different ways, expanding upon the
conceptual and sonic potential of the instrument in the broad context of jazz and
improvised music. The results and analysis covered in section 3 show how
multiphonics have and canbeutilised to convey and represent chordal andharmonic
frameworks,howpercussivearticulationhasandcanbeutilisedtomoreeffectivelyand
convincinglyconveygrooveandrhythmicunderpinningsandhowcircularbreathinghas
andcanbeutilisedtoprovideuncompromisedandconsistentaccompanimentinagiven
pieceofmusic.
TheabovestatementsringtruestwithregardtothecompositionswrittenforMeatshell
howeverthe inherent limitationsof thesetechniquescreatedproblemswhentryingto
use them functionally in jazz and improvised music generally which has made me
reconsider my initial assumptions and expectations. With that being said, learning
about these techniques and how they have been used has been invaluable to the
development ofmypersonal artistic voice and approach to composition, performance
and improvisation. The sub-sectionsbelowaim to fleshout these conclusions taking
each examined technique into consideration, discuss the limitations and value of this
researchgenerallyandsuggestareasforfurtherenquiry.
Interpretations of Findings
1. Multiphonics
Fromtheanalysisofthedatacollected,includingtheresultingartisticoutcomesofthis
researchdiscussedabove insection3.1,myoriginal expectation andassumption that
multiphonicscouldbeutilisedtoallowsaxophoniststooccupynon-traditionalfunctions
byconveyingharmonyandchordalmovementhasbeenprovenaccurate,albeitwithina
fairlylimitedscope.Thatistosay,attheveryleastinthecasestudiespresentedandin
the originalworkswritten forMeatshell,multiphonics have been used to portray the
chordalmovementandtheunderlyingharmoniccontextinthemusic.
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From theanalysisof thevarious case studies, twoclear compositionalandconceptual
trends emerged for the harmonically functional use of multiphonics being (i)
multiphonics as complete chordal representation and (ii) multiphonics as chordal
punctuation.The formeraimstoutilise thesesounds in isolation, findingmultiphonics
with resulting intervallic relationships that could represent and be interpreted as
specific chords whereas the latter incorporates these multiphonics into regular
monophonicphrases,addingasubtlelevelofharmoniccontexttotheline.
InthecompositionswrittenforMeatshell,dyadswerebyfarthemostutilisedcategory
of multiphonic with the wider and denser multiphonics used only sparingly. In the
developmentofthemusicitwasdiscoveredthatalthoughtheintervallicrelationshipsof
certainwidermultiphonicstheoreticallycorrespondverywelltoconsonantchords,the
resultingdistortedandoftenabrasivetimbremadeitdifficulttofindauseforthemthat
mademusicalsense. Operatingexclusivelywithinthemusicalcontextofaduo, itwas
especiallyimportanttobeabletocontrolvolumeandtimbresoastofindbalancewith
theothermusiciansanddyadsprovidedaremoreflexibledynamicrangepotentialfrom
a whisper to about metzo forte as well as allowing more potential chordal
representationsgiventhevagueidentityofthesoundsassimpletwonoteintervals.
Whilstithasbeenshownherethatmultiphonicscanbeutilisedtoallowasaxophonist
toportraychordalmovementandcontext,theinherentlimitationsassociatedwiththese
soundsmakesitextremelyunlikelythatasystematicandcompletechordalapproachfor
thesaxophonebasedonmultiphonicsalonecouldeverbeachieved.Thereissimplynot
enough variation and too limited a bank of harmonically functional multiphonics to
choose from. This was made clear for me during the improvised duo sessions with
Sebastian Stert, discussed in section 3.4, where I was only able to contribute one
multiphonic to thewhole songof “TheySayIt’sWonderful”andhad to resort to other
methodsofplayingtoeffectivelyaccompanyhim.
TorbenSnekkestadmirrorsandamplifiesthispointfurtherin“PoeticsofaMultiphonic
Landscape” proposing that multiphonics are better thought of purely as sounds as
opposedtochordsas“ourperceptualexperienceofthemismoreaboutaharmonicevent
–containinguniquetonecolourqualities”(2016,pp18-19).Thatistosay,thetimbreand
unusualsonicmakeupofamultiphonicissoforeigntotheear,thateventhoughpitches
andintervalscanbeperceived,thesoundsasawholearemorelikelytobeperceivedas
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noise andnotharmony. I nowmoreor less agreewith this takeon thephenomenon
whilstmaintainingthatinlimitedcircumstancestheirusecanstillbeaneffectivetoolin
providingachordalcontextoraccompanimentaswellasprovidestrongandinteresting
texturalandatmosphericfoundations.
2. Percussive Articulation
Analysis of the results in section 3.2, serve to also provemy initial assumptions and
expectations correct with regard to use of percussive articulation allowing the
saxophonist tomore effectively and convincingly convey rhythmic underpinnings and
groove in jazz and improvised music. In the case studies analysed, the use of the
differentslaptonguetechniquesandbreathsoundsontheconservativeendallowedthe
performertomoreaggressivelyaccentuatecertainnotesinamonophonicline,creating
strong polyrhythmic tensions and at the extreme end thrust the saxophone into
unchartedsonicterritory,effectivelymimickingthesoundsandfunctionofafulldrum
kit.
The most frequent percussive articulations featured the Meatshell compositions and
improvisationsweretheseccoandopenslaptonguetechniques,usedpredominatelyto
createstrongunderlyinggrooves. Thethuddingandstrikingtexturescreatedthrough
useofthesetechniquesbetterequipsaxophoniststotacklethiskindoffunctionwiththe
same physical intensity as a bass player or drummer. Furthermore, considering the
pitches are in a sense “strangled” and restricted from fully resonating, the resulting
sonictexturesaremorelikelytobeperceivedasbacking,grooveoraccompanimentand
not melody, which might be the case if conventional saxophone technique was used
instead. This variation and juxtaposition in sonic texture between the percussive
articulation and regular saxophone sound is perhaps themost important findingwith
regardtothissub-questionandisclearlyondisplayinthetwoMeatshellcompositions
“Refuge”and“F@CE”discussedinsection3.2.3above.
In my own composition and performance I consciously avoided using percussive
articulationtoattemptfullymimicadrumkitor“beat-boxer”likeartistssuchasDerek
Brown.WhilstIfindthisapproachextremelyimpressiveandnovel,onamusicallevelI
never found an example that I considered, inmy personal opinion,musically tasteful.
That is not to say the techniques couldn’t necessarily be applied differently andwith
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morenuanceandperhapsthisstyleofplayingcouldbethefocusoffurtherresearchin
thisfield.
3. Circular Breathing
Perhaps most unsurprisingly, my initial assumptions with regard to the circular
breathing technique allowing for saxophonists to play continuouslywithout breaks in
the sound thus providing an uncompromised bed of sound have also been proven
accurateinthisresearch,specificallythroughtheanalysisandapplicationinsection3.3.
I say this is unsurprising because this technique has been utilised for exactly this
purposeinawidevarietyoftraditionalmusicfromallovertheworldforcenturies.
Theanalysisofvariouscasestudiesrevealedthreecompositionalandconceptualtrends
whichhaveallowedsaxophoniststooccupynon-traditionalmusicalrolesinthecontext
of jazz and improvised music being, (i) drones, (ii) broken chord patterns and (iii)
continuous ostinatoswhich are developed and varied through overtonemanipulation
andvocalisationamongstothertechniques.Allthreeofthesetrendswereexploitedto
some degree in the threeMeatshell songs “Lost” (drones), “RJD” (broken chords) and
“BrokenThings”(continuousostinato).
In each of these songs, the use of circular breathing coupled with the particular
compositional trend, allowed for the saxophone part to convey the fundamental
harmonicandchordalstructureof thepieceaswellasthe intendedmood. Thedrone
sectionin“Lost”forinstancenotonlyrootedthecompositioninthegeneralkeyareaof
“D”butalsoestablishesasinisterandunnervingatmosphere. Thesamecouldalsobe
said for “Broken Things”which not only establishes the key of “D minor” utilising a
continuous two bar ostinato but also the fast, driving and perpetual rhythmic
underpinningsofthepiece.
Whilst it could be argued that circular breathing isn’t essential when it comes to
occupying this role, through this research it has become apparent that sometimes a
breakinsoundhasthepotentialtoimmediatelyandirreparablydisrupttheessenceand
flowofcertainpiecesofmusic.Thisofcoursecanalsoworkintheoppositewaywhere
thetechniqueisoverused,neverallowingforthemusictobreath.
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Contribution to Existing Literature
DuringthisprojectIneverencounteredanotherresearchpaperfocussedonfunctional
useofextendedtechniquesforsaxophoneinajazzandimprovisedmusiccontextsoon
some level this research does break “new ground” at very least in it’s subjectmatter,
collection of data and artistic output. Extended techniques are more commonly
discussed in the terms of texture and experimental composition in the fields of
contemporaryclassical, improvisedandnewmusicandassuchthisresearchaimedto
bridgethegapbetweentheavant-gardeandjazzgenres.
The compositional outcomes, in the forms of recordings and scores, for the duo
Meatshellarevaluableexamplesofhowtheseunconventionaltechniquescanbeapplied
functionally. Also the insights gained through analysis of various case studies with
regard to trends incompositionaldevicesandconceptualunderpinningsshouldprove
to be of value and significance not only to saxophonists but also composers and
arrangersinterestedinunconventionalandnovelformsoforchestration.
Limitations
When reaching and discussing any conclusions about any type of artistic research,
including this project, it is important to acknowledge the inherent and inescapable
personalconnectionoftheauthortothedecisionsmadewithinandtheoverallartistic
outcomeoftheproject. Ifanothersaxophonistundertookthesameproject it ishighly
likelytheiranalysisandconclusionswoulddiffervastlyfrommine.
On a more practical note, it is important to note that an inherent limitation of this
researchisthatitwasundertakenwithonlyonemusicalcontextinmindbeingthatofa
duoandmorespecifically theduoMeatshell featuringsaxophoneanddoublebass. Of
coursethiswasdoneonpurposebutperhapstheknowledgewouldhavebeenapplied
differentlyindifferentmusicalcontextsandmighthavebeenmoreorlesssuccessfulas
aresult.
Areas of Potential Further Study
The primary goal of this enquirywas to challenge the traditional soloistic role of the
saxophone in jazz and improvisedmusic by exploring and applying certain extended
71
techniques. From this, two paths of investigation present themselves, one more
focussedontheextendedtechniquesaspectandtheothermorefocussedonwhatnon-
traditionalrolesareforthesaxophone. Ithinkthisresearchdidagoodjoboftackling
thetechnicalpartoftheproblembuttookamoreintuitiveandshallowapproachtothe
questionofrolesinjazzandimprovisedmusic.Togofurtherinthisenquirymightbeto
focussolelyon the jazzrhythmsectionaswellas traditionalaccompanyingstylesand
techniques,exploringhowthesethingscouldbeappliedtothesaxophoneinthecontext
ofaduowherethesaxophoneisnotthemelodyinstrument.
Anotherpossibilitywouldbetogodeeperintoonetechniqueinisolationandattemptto
produce artistic outcomes, improvised and composed and in many different settings,
basedsolelyonthattechnique.ThiswouldbeakintotheworkofTorbenSnekkestadin
“PoeticsofaMultiphonicLandscape”.Icouldfathomanindepthenquiryintopercussive
articulationforinstance.
Finally, it would be very interesting to explore how electronic instrumental
augmentations could enhance the possibilities of the saxophone to occupy non-
traditionaloraccompanyingrolesinjazzandimprovisedmusic.WhilstIamnotaware
of research dealing with this area, there are certainly artists14who are currently
working with these concepts and finding new potentials for the instruments. With
technologyimprovingallthetimeandelectronicsbecomingentrenchedinthemodern
jazzidiom,thisareofenquirywouldcertainlybebeneficial.
14 ForexampleNielsKlein(seethetrack“PerpetualWaves”fromhis2017album“LifeinTimesoftheBigCrunch”)
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5. Cited Works
Cockroft,B.(2007).RockMe![SheetMusic]Sydney,Australia:ReedMusic.Fujikura,D.(2009).SAKANA[SheetMusic].London,UK:G.Ricordi&Co(London)Ltd.Lauba,C.(1995).SteadyStudyontheBoogie[SheetMusic].Paris,France:GerardBuillaudotEditeur.McPherson,A.,&Philpott,C.(2016).CircularBreathing:ExpandingMusicalPossibilitiesforFlutePlayersandComposers.JournalofMusicResearchOnline,7(2).Retrievedfromhttp://www.jmro.org.au/index.php/mca2/article/view/163Murphy,P.(2013).ExtendedTechniquesforSaxophone:AnApproachThroughMusicalExamples.Retrievedfromhttps://repository.asu.edu/attachments/110385/content/Murphy_asu_0010E_12819.pdfRascher,S.(1941).Top-TonesfortheSaxophone:Four-OctaveRange(3rded.).NewYork,NY:CarlFischer.Snekkestad,T.(2016).ThePoeticsofaMultiphonicLandscape.Retrievedfromhttps://nmh.no/en/research/projects/the-poetics-of-a-multiphonic-landscapeTaylor,M.(2008).TeachingExtendedTechniquesontheSaxophone:AComparisonofMethods.Retrievedfromhttps://scholarlyrepository.miami.edu/oa_dissertations/772/Weiss,M.,&Netti,G.(2010).TheTechniquesofSaxophonePlaying(3rded.).Kassel,Germany:Bärenreiter-VerlagKarlVötterleGmbH&Co.KG.
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6. Appendix
Appenix A (Audio) & Appendix B (Scores):
Meatshell Compositions
Appendix A: Meatshell Recordings
File Name Appendix B: Meatshell Scores
File Name
A1 “Carrots (in Honey)” B1 “Carrots (in Honey)”
A2 “RJD” B2 “RJD”
A3 “Lost” B3 “Lost”
A4 “Stones” B4 “Stones”
A5 “Refuge” B5 “Refuge”
A6 “F@CE” B6 “F@CE”
A7 “Broken Things” B7 “Broken Things”
Link to Google Drive: Appendix A
https://drive.google.com/open?id=1MT
UFv9AzfBq5u5TWbXyXEJADMw0hzFHn
Link to Google Drive: Appendix B
https://drive.google.com/open?id=1P-
Em85kBOoTfskGfaQNu-_-dPPuRux9O
**NOTE: All Meatshell scores also attached to back of this document
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Appenix C (Audio): Duo Sessions w/Sebastian Stert
Appendix C File Name Soundcloud link
C1 Free Improvisation #1 https://soundcloud.com/andrew-saragossi-
1/free-improvisation-3
C2 Free Improvisation #2 https://soundcloud.com/andrew-saragossi-
1/free-improvisation-1
C3 Free Improvisation #3 https://soundcloud.com/andrew-saragossi-
1/free-improvisation-2
C4 They Say It’s Wonderful #1 https://soundcloud.com/andrew-saragossi-
1/they-say-its-wonderful-3
C5 They Say It’s Wonderful #2 https://soundcloud.com/andrew-saragossi-
1/they-say-its-wonderful-4
C6 They Say It’s Wonderful #3 https://soundcloud.com/andrew-saragossi-
1/wonderful-1
C7 Free Improvisation #4 https://soundcloud.com/andrew-saragossi-
1/free-improvisation-4
C8 Free Improvisation #5 https://soundcloud.com/andrew-saragossi-
1/duo-w-sebastian-stert-3-nyc-2
C9 Free Improvisation #6 https://soundcloud.com/andrew-saragossi-
1/duo-w-sebastian-stert-3-nyc-3
C10 Free Improvisation #7 https://soundcloud.com/andrew-saragossi-
1/duo-w-sebastian-stert-3-nyc
C11 Free Improvisation #8 https://soundcloud.com/andrew-saragossi-
1/duo-w-sebastian-stert-3-nyc-1
C12 They Say It’s Wonderful #4 https://soundcloud.com/andrew-saragossi-
1/duo-w-sebastian-stert-4-1
C13 They Say It’s Wonderful #5 https://soundcloud.com/andrew-saragossi-
1/duo-w-sebastian-stert-4
75
Appenix D (Audio) & Appendix E (Scores):
Case Studies & Mentioned Musical Influences
Appendix D File Name Online Link
D1 “Harmonique” John
Coltrane
https://open.spotify.com/album/1rYvimVGwIQ
gc5IhBwLBuX?highlight=spotify:track:1Fxi3E
KlUeBy04JQ0ySJ5N
D2 “Steady Study on the
Boogie” Christian Lauba
https://open.spotify.com/album/4X9tgOHNyRa
JrWFDquee6x?highlight=spotify:track:1ZK44p
285KjawoZwM8RrSo
D3 “SAKANA” Dai Fujikura https://open.spotify.com/album/4EplnGe3Jfij4d
YYNb5nDE?highlight=spotify:track:1epCVX2
FAHY8Uzvz1AKSCr
D4 “Billy Goat Stomp” Jelly
Roll Moreton
https://open.spotify.com/album/7eb3oQwz20Z
pSLNDpHhuPj?highlight=spotify:track:4fSEuJ
7l3WWr3rFKvwvoQi
D5 “Rock Me!” Barry
Cockroft
https://www.youtube.com/watch?v=om4bPR9c
LFs
D6 “Hide & Seek” Joshua
Redman
https://open.spotify.com/album/4vImHwVHl2i
u7hKG18j4gu?highlight=spotify:track:5dMGT
MxOOp4JDCI0ImTvRI
D7 “Woman” John Carter &
Bobby Bradford
https://drive.google.com/open?id=10eWC_wfZ
M_03oPuDMSn-wFmOZ_r_Z7TN
D8 “Like Wolves on the
Fold” Colin Stetson
https://open.spotify.com/album/5IQhNr6Vn3cq
03bPty6Cpe?highlight=spotify:track:3uLKMZ
9WaX5hVqGERLgJkt
D9 “Jengu” Andrew Ball https://andrewball.bandcamp.com/track/jengu
76
Appendix E File Name
E1 “Harmonique” John Coltrane Transcription
E2 “SAKANA” Dai Fujikura Full Score
E3 “Billy Goat Stomp” Jelly Roll Moreton – Stump Evans Transcription by
Josiah Boornazian 2017
E4 “Rock Me!” Barry Cockroft Excerpt
E5 “Like Wolves on the Fold” Colin Stetson Transcription
E6 “Jengu” Andrew Ball Full Score
Link to Google Drive: Appendix E
https://drive.google.com/open?id=1ZuF5_iSnJP12lXlrNewcC7qSpamJZtVb
Appendix F (other):
Appendix F File Name
F1 Multiphonic Re-Categorisation Sheet (Andrew Saragossi)
Link to Google Drive: Appendix F
https://drive.google.com/open?id=1dmoqsbW6bq0evCOuh-LT7-PUheXaTmoV
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p
side- Now I'm see ping- fur ther- in There is no thing- for me here
C
11
p
I
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am lost!
D
15
f
Where
p
light is ab sent- On ly- whites of eyes
17
p p
&
b
" "
1st TIME ONLY
(Vocals Only)
&
#
"
∑
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b
U
&
#
Ä
**Trill to same note
but timbral fingering
(use index and middle
finger on right hand to
trill the "F" key OR "key 4")
Ÿ~~~~~~
>
>
U **Saxophone
Leads Last
Section
&
b
U
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pp
4
4
4
4
4
4
&
CELL 1. OPEN FREE IMPROV
- based on phrase below
Stones
MEATSHELL // A.Saragossi & H.Svoboda
?
CELL 1. OPEN FREE IMPROV
- based on phrase below
&
#
#
CELL 1. OPEN FREE IMPROV
- based on phrase below
&
CELL 2. CHANGE WHEN YOU ARE READY
- use melody fragments as you wish
U U U
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CELL 2. CHANGE WHEN YOU ARE READY
- use melody fragments as you wish
U U U
&
#
#
Continue CELL 1.
- build and drop out suddenly
‘
&
Continue CELL 2.
- eventually fade out to nothing
‘
?
Continue CELL 2.
- eventually fade out to nothing
‘
&
#
#
CELL 2.
- fade in and take over (fast/driving tempo)
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Sto
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king
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stone,
bomb,
push
stressed
and
and
heave.
raw.
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our
word
migh
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de
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A
4
A
you
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ver
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ev-
or
er-
leave.
more.
See
See
my
my
face
face
heart
heart
beat
beat
and
and
soul
soul
7
™
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years
will
have
it
paid
make
their
me
toll.
whole?
11
&
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‘ ‘
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B
14
B
Lit
mp
tle- girl sing to me. Lost and scared re lieve- me of thie mis er- y.
< q = e >
(half-time)
C
16
< q = e >
(half-time)
C
mp
See my face heart beat- and soul will it make me whole?
21
See my face heart beat- and soul will it make me whole?
25
6
4
4
4
6
4
4
4
6
4
4
4
&
OPEN - Accompany with breath sounds
∑ ∑
"
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OPEN - Sax Solo
‘
"
&
#
#
OPEN - Sax Solo (Noise/Abrasive)
∑ ∑
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∑ ∑ ∑ ∑ ∑
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28
f
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mf
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p
lit tle- things keep me hap py- in this mo ment-
A
3
mp
B¨6
sfz mp
E(#9)
A
6
sfz mp
it tastes un fa mi- liar- to
8
C6 D‹
4
4
5
4
4
4
4
4
5
4
4
4
4
4
3
4
4
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4
3
4
4
4
5
4
5
4
4
4
5
4
4
4
&
b
b
b
b
OPEN Repeat (Saxophone Intro)
∑
**LAST X only**
Meatshell (H.Svoboda & A.Saragossi)
Refuge
&
b
b
light, bouncy and playful (improvise based on this vamp)
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sear ching- loo king- for for for for for for for.....
13
B¨ E‹ FŒ„Š9
a place for re fuge- to -
17
p
B‹ D/A©
night
21
mf
F©7(b9)
5
4
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8
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4
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6
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3
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2
Voice
T. Sax
* = slap tongue
x = secco slap (closed)
Saxophone Techniques Key:
= secco slap (open)
Jag ged- Poin ted- Ser ra- ted- edge Watch
A
mp
* * * * * *
sim.
the waves.... Crashhhhh be low- Watch the waves....
4
Cop per- Brass ssssillll- - ver- -
B
7
mp
* * ** * * ** * * * * *
&
b
b
b
b
»
VERSE 1
.
MEATSHELL // A.Saragossi & H.Svoboda
F@CE
&
b
b
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b
b
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&
b
b
b
b
VERSE 2
>
>
>
~~~~~~~~~~~~~~~~.
&
b
b
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10
Two Hands Short! THICKK Long Thin thin thin thin thin thin
C
14
mp
* * * * * *
sim.
One Two Three Four
cresc.
Five Six
accel. D
20
cresc.
™
™
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23
ff
3
4
3
4
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b
b
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b
b
b
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VERSE 3
~~~~~~~~~~
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b
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b
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INTERLUDE
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I have... TwoThou sand- Four hun- dred- and fif ty- six friends
A tempoE
26
f
* * * * * *
Ha ha,- WOW! like, love, sad, ANG RY! Ha ha,- WOW! like, love, sad, ANG RY!
F
30
sim.
™
™
™
™
Loooo ooooooo ve Looo oo oo oooo oooooo veee
G
34
mp
* * * * * *
Fre ckled- Egg Shaped Pu ump- kin- esqueesque- Take off your
H
39
mp
* * * * * *
sim.
3
4
4
4
3
4
4
4
4
4
3
4
4
4
3
4
4
4
3
4
4
4
3
4
&
b
b
b
b
VERSE 4
&
b
b
>
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>
.
>
Continue groove and develop as you wish (reacting to vocalist)
&
b
b
b
b
CHORUS
&
b
b
» » »
&
b
b
b
b
~~~~~~~~~~~
~~~~~~~~~~~~~~~~
. .
&
b
b
>
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b
b
b
b
VERSE 5
&
b
b
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44
™
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49
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Ha ha,- WOW! like, love, sad, ANG RY!
51
™
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Loooo ooooooo ve Looo oo oo oooo oooooo veee
J
53
mp
* * * * * *
sim.
4
4
4
4
4
4
3
4
4
4
4
4
3
4
4
4
4
4
3
4
4
4
3
4
&
b
b
b
b
&
b
b
>
>
Continue groove and develop as you wish (reacting to vocalist)
&
b
b
b
b
CHORUS
&
b
b
» » »
&
b
b
b
b
&
b
b
» » »
&
b
b
b
b
~~~~~~~~~
~~~~~~~~~~~~
. .
&
b
b
>
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Continue groove - fragment line and eventually drop out
∑
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Voice
D. Bass
T. Sax
A
A
f
9
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13
3
4
3
4
3
4
&
b
Repeat 3X
vocals enter last time
•
2
•
2
•
2
•
2
•
2
•
2
Broken Things
MEATSHELL // (A.Saragossi & H.Svoboda)
?
b
A.H.
¿
•
2
•
2
•
2
•
2
•
2
•
2
&
#
+X
Repeat 3X
finger the bottom line and add keys as specified
- the top line is the resulting tone
>>
>
•
2
•
2
•
2
•
2
•
2
•
2
>
&
b
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b
&
#
+C2 +C1
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b
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2
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2
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2
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2
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2
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2
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b •
2
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2
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2
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2
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2
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2
&
#
+Ta
b
•
2
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2
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2
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2
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2
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2
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21
25
29
33
37
41
?
b
≥
arco
> > > >
&
#
Sing/Vocalise Top Line
Whilst Playing Bottom - Distortion Effect
#
•
2
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b
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2
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b
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2
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b b
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2
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2