I am temporarily on hold while kind people search for my missing blood platelets, or more precisely the cause of the little stickies’ demise. “Forget it, Jake. It’s Chinatown!”
So, why not read my first novel, Stolen Hours, instead:
Meanwhile, a second (I won’t say ‘last’ because that would be manipulative) novel is currently (DC or AC?) being generated by steroids, sleep-deprivation and a cross-circuited (un)consciousness. It’s (possibly – too early to know) a pensioner’s coming-of-age story. Please seek medical advice, if you want to try this yourself.
The melodic scale of Terry Riley’s classic minimalist work In C (1964) is intriguing, especially if we assume that equal temperament isn’t a given. I’ve recorded a version of the piece adapted to the ‘acoustic scale’ tuned according to a more just intonation than equal temperament; plus some additional liberties taken with the original score. It can be downloaded HERE (32MB)
Some things to practise when you don’t have your sax (but not like the guy above) …
Relaxed posture: shoulders at rest, back straight, long neck, head up and forward.
Dynamic breathing: shoulders remain at rest and upper chest is static; lungs and lower ribs move smoothly outwards and inwards, forward and side.
Tongue position: breathe in gently through your nose, half filling your lungs, and out through your mouth; with your tongue at rest, exhale slowly and smoothly to create a snake-like hiss (an ‘aah’ sound indicates that your tongue is not at rest and your mouth is open too wide).
… a list of instruments stolen this month from Dawkes, and also the saxophones stolen from Sax.Co back in April/May – SEE BELOW
In the early hours of July 12th we were victims of a break-in at the shop. The gang of thieves forced their way into our Sax Suite and stole 40 saxophones that were on display (full list below). The police arrived on scene and are investigating the matter further. Sadly this is the most recent in a spate of Music Industry related break-ins with the thieves clearly targeting certain locations and stock types. It is unlikely these instruments will appear in the UK marketplace but we have listed a full inventory below of what has been stolen, please be aware or on guard for any 3rd party re-selling or auction sites offering these models. Any info can be passed to us or Thames Valley Police (Ref: 43170204724)
If you’re serious about saxophone technique, and willing to question much of what you think you already know, study John Harle’s brilliant new book. The really significant chapters are taking me 2-3 weeks to get my head (and the rest of my upper body) around, so it’s value for money. Chapter 1 alone has made playing more comfortable, power breathing more natural; it’s improved my stamina, tone and intonation, thus allowing me to concentrate on the wider issues of expressive performance.
This book is not a set of ‘quick fixes’, so you have to persevere with each chapter, until the detailed instruction, copious diagrams and carefully selected exercises finally sink into your greater understanding of how lips, tongue, throat, lungs and head resonance work together. Your existing technique has to be challenged, changes made consciously and then, after sufficient practice, your improved technique will become intuitive.
Jazz and pop saxophonists may find themselves sounding a bit ‘classical’ at first, but once these techniques are fully embodied, they can be adapted to any style of playing. One caveat, however: several exercises are best suited to alto and soprano saxophone (Harle’s preferred instruments), so adaptation will be required by tenor, baritone, bass and sopranino players, specifically over issues of head resonance and the relationship of saxophone registers to the singing voice. This may seem a deterrent for some of you at first, but Harle’s philosophy is all about understanding how YOUR body works when playing, so self-analysis is essential to players of all saxophones, under Harle’s expert guidance.
Here’s a page from volume 1 (© 2017 Faber Music Ltd):
Public vote for the Secret Art Prize …
The Secret Art Prize is open to all contemporary artists. Disciplines welcome include painting, sculpture, drawing, printmaking and photography.
Here’s a fingering exercise for sax or other treble instrument, based on Michael Jackson’s Don’t Stop ’til You Get Enough.
Interesting podcast featuring legendary sax repairer, Rupert Noble.
Here’s an exercise on harmonics, from Earl Bostic’s alto playing, bars 9-11 of ‘Bugle Call Rag’ (1956). Alternate upper register G with normal fingering and the same note produced as a harmonic of low C (no octave key). Start slow, then see if you can match Bostic’s virtuosity. This is a way of making repeated notes more interesting and a useful exercise to build up altissimo technique.
Bostic hits a super high B near the end of this recording, which is really a little over the top for most players.
Here are some licks and riffs in the styles of Bobby Keys and Lee Allen, suitable for alto, tenor and baritone saxes:
Horn licks and Riffs
Don’t forget to growl, bend, etc. Play the quavers straight or swing them.