Challenging the Saxophone’s Traditional Role in Jazz and ...

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


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


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.

22

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”.

24

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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)

26

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)

27

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

31

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

33

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

35

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

36

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


--------------

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


-------------

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.


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.


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.

59

SESSION TRACK DESCRIPTION

Session#1

14OCT2019

Track1:

Track2:

Track3:

Track4:

Track5:

FreeImprovisation#1

FreeImprovisation#2

FreeImprovisation#3

TheySayIt’sWonderful#1


Session#2

17DEC2019

Track6:

Track7:


FreeImprovisation#4

Session#3

15JAN2020

Track8:

Track9:

Track10:

Track11:

FreeImprovisation#5

FreeImprovisation#6

FreeImprovisation#7

FreeImprovisation#8

Session#4

28JAN2020

Track12:

Track13:



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

60

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

61

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&#6 (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

62

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&#8 (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.

63

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.

64

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.

66

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.

67

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

68

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

69

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.

70

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”)

72

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.

73

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

74

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





C4 They Say It’s Wonderful #1 https://soundcloud.com/andrew-saragossi-

1/they-say-its-wonderful-3


1/they-say-its-wonderful-4


1/wonderful-1




1/duo-w-sebastian-stert-3-nyc-2




1/duo-w-sebastian-stert-3-nyc




1/duo-w-sebastian-stert-4-1


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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CELL 1. OPEN FREE IMPROV

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Stones

MEATSHELL // A.Saragossi & H.Svoboda

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&

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CELL 2. CHANGE WHEN YOU ARE READY

- use melody fragments as you wish

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CELL 2. CHANGE WHEN YOU ARE READY

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Continue CELL 1.

- build and drop out suddenly

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king

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stone,

bomb,

push

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and

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face

heart

heart

beat

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7

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years

will

have

it

paid

make

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me

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14

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Lit

mp

tle- girl sing to me. Lost and scared re lieve- me of thie mis er- y.

< q = e >

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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

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OPEN - Accompany with breath sounds

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OPEN Repeat (Saxophone Intro)

∑

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Meatshell (H.Svoboda & A.Saragossi)

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Voice

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= secco slap (open)

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mp

* * * * * *

sim.

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Cop per- Brass ssssillll- - ver- -

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* * ** * * ** * * * * *

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VERSE 1

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MEATSHELL // A.Saragossi & H.Svoboda

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Gold Heads or tails Un min- ted- odds

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Two Hands Short! THICKK Long Thin thin thin thin thin thin

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* * * * * *

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* * * * * *

Ha ha,- WOW! like, love, sad, ANG RY! Ha ha,- WOW! like, love, sad, ANG RY!

F

30

sim.

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Loooo ooooooo ve Looo oo oo oooo oooooo veee

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34

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* * * * * *

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53

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* * * * * *

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MEATSHELL // (A.Saragossi & H.Svoboda)

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3

Challenging the Saxophone’s Traditional Role in Jazz and ...

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Transcript of Challenging the Saxophone’s Traditional Role in Jazz and ...