Regarding the use of saxophone, here is an assortment of un-sorted un-ordered ideas to keep the discussion going. The basic idea is to help define unique behaviors for the saxophonist so the actual sound has a different signature in each section. Hopefully, Leonardo Fibonacci would be entertained, even if he had no idea what a saxophone (1840s) is …
#1 scales and tunings
The fibonacci series can be used to create scales – interval sequences. Perhaps one of the sections can use a 1/4 tone scale. I just performed a piece by Vijay Iyer that used 8 notes from the standard equal tempered chromatic scale and two quarter tones. Iyer is an Indian-American jazz musician and his electronic and piano drones used the same scale.
This worked as both of use were faithful to this unique scale/tuning. This degree of 1/4 note playing was practical. I did spend about 8 hours practicing this scale, so lets not make this too uncomfortable, but this level of microtonality for one section of the piece works, specifically if the section has a drone or is what jazz musicians call modal-harmony.
In short, the piece provided a unique 12 minute character to the concert.
#2 – amplified key noises
we can get a 3 minutes interlude/vignette out of amplified key noises. This is nothing new, but the noise that the sax makes in the lower register is quite beautiful. Delays, resonant filters and reverbs make this even more fun.
I can develop some key slapping DSP using max/msp, pluggo or Ableton live.
#3 – breath or trumpet like noises
Saxophonist Steve Lehman made a great 4 minute piece using trumpet like noises. Again, 1-3 minutes of this makes for a huge contrast.
#4 – multiphonics
The alto sax makes some nice multiphonics. I tend to use the most reliable ones. I typically finesse 3-4 and put them through delays. Check out the first excerpt on my myspace page. Here the multiphonics are processed in max/msp using a sort of arbitrary non-looping delay. Great texture and it can be interesting for several minutes.
#5 – sax to control signal
I used the IVL pitchrider for years and then basically reverse engineered this hardware device. We can use a MIDI send from my computer or a dedicated computer.
Also, I liked the amplitude tracker in the Lexicon PCM-80 and reverse engineered that using max/msp as well. So that makes for a second control source.
#6 – melodic and intervalic permutations
my solo CD Timaeus uses tons of this and I still like it. It is possible to write software that looks for specific sequences of pitches or intervals and creates real-time interpolations. We can think of ways to track fibonacci sequences and generate MIDI or audio sequences from my computer, or anyones in realtime.
I can send my solo CD or post an mp3. Its also on iTunes.
#7 – sax to video
I am presently toying with ways to map the sax performance to video. This is really an audience friendly attempt to make graphic notation of what I play. The nice thing is that they should be able to follow this. Could be fun and again, useful for a short section.
#8 – playing on the mouthpiece
Again, another sound that I use from time to time.
#9 – sub tone sax
very very soft, works best in low register
#10 – flutter tounge
#11 – harmonized sax
I have used a microtonal harmonizer – we can harmonize with sequences of ‘chords’ vertical aggragates derived from the Fibonacci series … etc. I use a pedal to change the number of cents per half step in realtime. Sounds like Bille Holiday meets Ligeti’s glissandi.
#12 – sine wave based resynthesis
I love SPEAR and am currently playing with making all sorts of compositions and play using sine wave lines (melodies) based on the sax.
#13 – sound of the sax reverberating in the space – or any other space that we record in in Essen.
Got a warehouse? We could spend an hour playing with sax echoes and recording.
#14 – lets get a thread going regarding Fibonacci pitches/intervals. Any ideas welcome.
More soon,
This is just a start
