NASA Day 3

Whoa!  What a weekend! 

Sunday, Day 3, for me began softly, with a lovely pair of duets with soprano saxophone and an instrument called the pipa (pronounced peep-a).

The young man on the saxophone had a beautiful, clear tone.  The pipa player was fascinating to watch.  A pipa is a four-stringed instrument from China that sounds like something between a mandolin and a lute, being strummed and plucked.

Second on the program for this early recital was an alto player with didgeridoo.  Time to wake up, I guess!  The man playing didgeridoo sounded great (I've always loved the sound of a didgeridoo) and was a remarkable accompaniment to the sax.

For the last piece, the didg player laid down the traditional instrument and picked up an odd arrangement of pipes.  He called it his "sewer sax", being made of sewer pipes.  It is played like the didgeridoo, but has an extra pipe end that can be covered with his hand to create two different pitches.  Thus, his new instrument can do more than just drone on one note.  Outstanding!

Following the recital was a NASA General Membership meeting.  Old and new business was discussed.  NASA, as an organization, isn't as old as I thought it was, and membership is growing.

Then, Eugene Rousseau lead a masterclass.  Here he is, imparting wisdom:

 
After the masterclass, my mouthpiece and I took another spin through the exhibit hall to try out the Bauhaus saxophones.  Bauhaus is a company out of the United Kingdom that focuses solely on saxophones and is starting to distribute in the U.S.  They play very nicely, though are a bit heavy (which translates to better sound, ultimately).

By the time this ended, I was badly in need of some quiet time.  The third day of many of these conferences and conventions can sometimes feel like burn-out, despite your interest and love of the subject matter.  So, I took myself and a book over to the corner coffee house to get in some reading and relaxing.  It was my mini-vacation, after all.

Relaxed and well-read, I then headed back to the lecture hall.  I took in a performance of a piece for tenor sax and percussion, ably performed by an old friend from way back.  Then grabbed the last portion of a performance lecture on the saxophone life and times of 1920s musician Kathryn Thompson.  A woman of the jazz age, who reportedly strongly disliked jazz but wrote some sparkling ragtime music for saxophone and taught saxophone in a music school in southern California. 

The final two lectures I attended dealt with building up a private lesson studio and teaching critical thinking to students.  With these ideas and thoughts rattling around in my overwhelmed, slightly sleep-deprived brain, I strolled back to the car and headed for home.

NASA Day 2

What a day!  Got up early to get back to campus to start the day with a lecture on Alexander technique.

But before I could do that, I had to wait for the geese to cross the road in front of my hotel.

Okay, Alexander technique.  I thought this method was only for actors, but many of the concepts can be applied to any discipline, including playing an instrument.  It is more than posture and deals more with balance, "non-doing", letting go of tension, body kinesthetics, and awareness.  It requires recognizing a bad habit and replacing it with a better habit.  With the saxophone, much can be done just by adjusting the neckstrap to a place where the weight of the horn is less severe on your neck body alignment.

Following the Alexander lecture was a presentation by Pedrosaxo.  www.pedrosaxo.com if you are interested.  He was "discovered" by Jeff Coffin, who persuaded NASA to feature him at this year's conference.  "Break your limits" to quote Pedro, and he broke limits.  His music creates soundtracks and sonic landscapes without overdub or electronic assistance (except for maybe a bit of resonance through his computer).  His music is personal, emotional, and impressively performed.  For his presentation he performed four pieces, one of which was played without the mouthpiece and another played on just the mouthpiece and neck of the horn.  Not just sax tricks though, he used throat singing, multi-phonics, and singing and playing simultaneously.

Pedrosaxo

Mind blown, I headed over to hear a panel discussion about the history of classical saxophone pedagogy.  Members of the panel were none other than Fred Hemke, Steve Mauk, and Eugene Rousseau. 

Over lunch I listened to some fine student sax quartets and took a spin through the exhibit hall.  I was excited to find some publications of music of Rudy Weidoeft (that I can't wait to get home and try out!) and a book of Bach music transcribed for saxophone.  I also took the opportunity to try out the new Keilwerth MKX.  Not only is it a beautiful horn, it plays great.  So great, I didn't really want to put it down.  Always a good sign of a quality instrument.  I also tried a couple of the new model Buffet saxes.  Not as much to my preferences, but built well.  I noticed that the finishes really made a big difference with these horns.

After the test drive and shopping session, I wandered back over to the lecture hall to hear a talk that really boiled down to fundamentals as they relate to classical style versus jazz style.  It was just the kind of nit-picky, lazer-beamed, hyper-focused lecture that academics are known for.  But I still managed to pick up some information that may be useful with my students.

The evening concert was a superb showcase of ensemble and chamber work featuring saxophones.  A duet with piano, a quartet, saxophone with percussion ensemble, the Moanin' Frogs sax ensemble, the Eastman Saxophone Project, and Jeff Coffin and Futureman returned to the stage.  Bravo!

And thus concludes day 2: chicken soup for the saxophone soul.

Jazz on Stage 5

Oh yeah.  Doxy.

NASA-ers

NASA Day 1

Woke up bright and early this morning to hit the road to attend the 2014 North American Saxophone Alliance (NASA--clever, eh?) Conference.  Which is a bit of a mouthful, so from now on, I will refer to it as Saxfest. This is my first Saxfest and I hope to get recharged (it is sort of a mini-vacation for me), pick up some inspiration, learn new things, and hear some good saxophoning.

After arriving at the campus of the University of Illinois and securing a parking permit (no sense feeding meters all day when a day pass can be procured), I headed to the Krannert Center for the Performing Arts to check-in and see what's what. 

The first thing I encountered was and ensemble showcase of the UMKC Conservatory.  It was lovely sounding entrance music as I got  checked in, met up with a couple fellow QCA friends, and refueled my coffee cup.

After coffee and reviewing the day's schedule, my friends and I took a look at the saxophones exhibit.  Here we found some vintage copy from saxophone ads for Conn, Beuscher, and Selmer companies.  Also available for perusal was a collection of saxophones from the era of the man himself: Adolphe Sax.

Also on hand was this Grafton plastic saxophone.  Charlie Parker used a horn like this we he hawked his good horn for drug money. 

Bass saxophone. Don't see these everyday.  Well, unless you own  one.

Then it was off to the Music Building for a recital of new music for saxophone.  The building is rather extraordinary.  My pictures don't do it justice, considering my camera is getting a bit dated (so much so that the last photo kiosk I took it to to print pictures told me that the resolution was too low.  Cheeky kiosk.)

The program for this recital featured music written within the last several years.  The last piece on the program was a world premier composed by Dorothy Chang, who was in the audience to talk about her piece.  New Stories for Alto Saxophone and Piano was performed by Joe Luloff and showed how versatile the instrument can be in conveying mood and imaginative landscapes.

After the recital, I wandered into a lecture about Bessie Mecklem .  Bessie was one of the first female saxophone soloists who had an active performance schedule in New York.  She recorded some with Thomas Edison, but unfortunately, the recordings have been lost.  What was most interesting takeaway from this lecture was the prevailing attitude towards woman musicians, particularly woodwind players, at the Turn of the Century.

Not really wanting to go too far from the lecture hall because I wanted a good seat for the Jeff Coffin clinic, I stuck around for the following discussion panel.

The panel discussion, titled "D.M.A or J.O.B. Pathways to Employment in the Academy and Beyond" was interesting to listen in on.  Even though I don't have current aspirations to get a DMA or to make a run for the very few jobs available in academia, I did find some inspiration in the advice given from the panelists. 

From my notes: "What do people hope to gain from their musical experiences?" and "What does it mean to be a teacher?"  Some interesting questions to consider.

Just after the panel discussion was the Jeff Coffin clinic.  Jeff Coffin on saxophones and Roy "Futureman" Wooten on drums.  They began with about 35 minutes of non-stop jazz interplay made up on the spot.  Both are entertaining performers, playing with tone color, sound effects, water bottles, and comic devices all without dropping a beat.  Coffin then asked us to list all of the things we heard. 

The listening exercise spun out into a discussion of the Five Fundamentals.

Coffin lists these fundamentals, in order of importance, as:
1. LISTENING (all caps because it is very important and required before the others can make any sense)
2. Tone/Dynamics (including emotional dynamics)
3. Harmony--This is a huge topic, so start small and start to connect the dots.
4. Rhythm/Time
5. Articulation --This can be an extraordinary expressive device.

With practice and mastery of these fundamentals, your opportunities for expression as a musician can increase dramatically.

An inspiring and energizing first day at Saxfest!

The Circle Part 2

Last time we took a closer look at the Circle of Fifths.

Here it is:

Sharp keys are found on the right side, reading around clockwise.  Flat keys are found on the left side, reading counter-clockwise.  Sharps and flats are added one at a time, and in always the same order, when keys are viewed in intervals of Fifths or Fourths (reading to the right or left, respectively).  The order that these sharps and flats are added are consistent and also present a pattern.  Sharps are added to progressive key signatures in this order:

                                 F  C  G  D  A  E  B

So, G major has one sharp, and it is F#.  D major has two sharps, and they are F# and C#.  A major has three sharps: F#, C#, and G#.  And so on around the Fifths side of the circle.

If you read around the keys on the left side, you will read in a progression of Fourths.  Flats are added in a consistent pattern also.  F major has one flat: Bb.  Bb major has two flats: Bb and Eb.  Eb major has three flats: Bb, Eb, Ab.  Let's look at the pattern that emerges from the order of the way the flats are added:

                                 B  E  A  D  G  C  F

Compare that to the order of sharps.  It is the sharps order in reverse!  Way cool!

Now, let's say that you only have access to a Circle with key names (it doesn't show you the signatures).  What are you going to do?  Well, the first answer is that you are such a well-prepared musician that you have the keys memorized (which you should strive for) but failing that, you can just memorize three key signatures and figure out the rest using the Circle. 

The three to memorize: C major has no flats and no sharps.  Every tone in this scale is in its natural form.


                                    G major has one sharp.  That sharp is always F#.
                                    F major has one flat.  That flat is always Bb.


Now the trick using the Circle: Sharps and flats are always added in a consistent and predictable order.  If you need to figure out D major's key signature you would recall that F is added first....uh oh! Then what?! Look at the Circle.  Locate F.  Then read around clockwise. There is the order of sharps!  F C G D A E B 
So, D major would have F and C sharps. 



What about flats?  Recall that Bb is the first flat added, then it adds flats in the reverse order of sharps.  But if that is too much work, locate Bb on the Circle and read around counter-clockwise. There is the order of flats! Bb Eb Ab Db Gb Cb (Fb)


TAA DAAAAA!!
Who says music theory has to be boring?! 

The Circle Part 1

This is the Circle of Fifths.  From now on referred to as "The Circle".  The Circle (sometimes known as the "cycle", is super handy for those who are still a bit fuzzy in the ways of keys and key signatures.  At first glance, we see that it represents the key signatures arranged in a way that they increase in sharps or flats as one reads around in either direction.  We also see that both major and minor keys are represented.  What you may not see at first glance is all of the patterns.  Let's take a closer look.

Prerequisite knowledge: a key signature is the shorthand representation of the notes that need to be altered from their natural tones throughout a piece of music to play in the proper key.  The key signature remains in effect throughout the entire piece or until it is changed with another key signature.  Accidentals (a flat, sharp, or natural sign written into the music) can alter the effect of the key signature, but are only valid through the measure in which they are written.

The first pattern can be found in the sharps themselves.  The last sharp added to any major key is one half-step lower than the key name.  In the key of D major, for example, the last sharp added is C#.  C# is a half-step lower than D.  A# is the last sharp added in the key of B, and so on.

On the flat side, the last flat added is the key's fourth scale degree.  So, for example, in the key of Bb the fourth scale degree is Eb, which the last flat added to the signature. You can see this for yourself if you write out the scale and counting the scale degrees, starting with the key name note labelled as 1:

                          Bb       C       D      Eb      F      G      A      Bb
                            1         2       3       4        5       6      7     1 (8)

There's more awesomeness within the Circle.  Check back for Part 2!