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E-grāmata: Hyper-specializing in Saxophone Using Acoustical Insight and Deep Listening Skills

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Hyper-specializing in Saxophone Using Acoustical Insight and Deep Listening SkillsPalielināt
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This book presents a novel method of grafting musical wind instruments by exchanging an instrument’s standard mouthpiece with different tone generators. Using the concrete example of the soprano saxophone, it describes how, with six other tone generators, including brass, double reed, and free reed mechanisms, the saxophone can be extended to nearly every wind instrument category in the von Hornbostel and Sachs classification system. The book demonstrates how it is possible to play these instrument variations with high proficiency, and describes the method of hyper-specialization, including acoustical insights, conservatory training methods and the underlying philosophy. The latter is based on the cultural traditions of the different wind instrument prototypes and the Deep Listening philosophy of cultivating internal diversity, and approach that leads to a new level of wind instrument virtuosity that offers great timbral variety combined with the flexibility of a regular acoustic wind instrument.

1 Introduction
1(4)
2 Acoustics of the Saxophone
5(34)
2.1 Introduction
5(1)
2.2 The Resonator
5(7)
2.2.1 The Cylindrical Resonator
5(6)
2.2.2 The Conical Resonator
11(1)
2.3 The Tone Generator
12(14)
2.3.1 General Mechanisms
12(5)
2.3.2 Acoustical Analysis
17(9)
2.4 Acoustic Coupling of Tone Generator and Resonator System
26(6)
2.4.1 General Thoughts
26(2)
2.4.2 Physical Coupled Reed/Resonator Model
28(4)
2.5 The Role of the Vocal Tract
32(7)
2.5.1 Shaping the Instrument's Timbre
32(3)
2.5.2 Intonation Using Super Formants
35(1)
2.5.3 Articulation
36(3)
3 Extended Techniques for the Saxophone
39(8)
3.1 Altissimo Range
39(1)
3.2 Circular Breathing
40(2)
3.3 Singing and Playing
42(5)
4 Deep Listening
47(26)
4.1 Introduction
47(1)
4.2 Hearing and Listening
48(9)
4.2.1 General Definitions and Background
48(1)
4.2.2 Focal and Global Listening
48(4)
4.2.3 Auditory Scene Analysis
52(3)
4.2.4 Transparent and Fused Music Ensembles
55(2)
4.3 Intuitive Listening
57(7)
4.3.1 Intuitive Approach to Music
57(4)
4.3.2 Embodiment
61(3)
4.3.3 Enauditioning Situations
64(1)
4.4 Listening and Understanding
64(5)
4.4.1 Background
64(1)
4.4.2 Sound Quality and Assigning Meaning
65(3)
4.4.3 Breaking Cultural Conventions
68(1)
4.5 Creating and Adapting to Musical Situations
69(4)
4.5.1 The Freedom of Shared Responsibility
69(2)
4.5.2 The New Virtuoso Performer
71(2)
5 Grafted Instruments
73(78)
5.1 Introduction
73(4)
5.2 Historical Background on the Saxophone
77(3)
5.3 The Sarrusophone
80(8)
5.3.1 Historical Background
80(2)
5.3.2 Construction
82(2)
5.3.3 General Playing Instructions
84(1)
5.3.4 Songs
85(3)
5.4 The Cornett
88(15)
5.4.1 Historical Background
88(5)
5.4.2 On the Use of the Saxophone as a Cornett
93(1)
5.4.3 Construction
94(1)
5.4.4 Embouchure
95(2)
5.4.5 Exercises
97(3)
5.4.6 Cornett Repertoire
100(3)
5.5 Rim Flute
103(15)
5.5.1 Historical Context
103(5)
5.5.2 Mouthpiece Adapter
108(1)
5.5.3 General Playing Instructions
109(2)
5.5.4 Daily Exercises
111(1)
5.5.5 Songs
112(6)
5.6 Didjeridu
118(9)
5.6.1 Historical Context
118(3)
5.6.2 Construction
121(3)
5.6.3 General Playing Instructions
124(3)
5.7 Bawu
127(13)
5.7.1 Classification
130(1)
5.7.2 Construction
131(3)
5.7.3 General Playing Instructions
134(1)
5.7.4 Songs
135(5)
5.8 Duduk
140(11)
5.8.1 Historical Background
140(4)
5.8.2 Construction
144(2)
5.8.3 General Playing Instructions
146(1)
5.8.4 Songs
147(4)
6 The Sonic Circle
151(26)
6.1 On Diversity and Cultural Equality
151(1)
6.2 Tracing Our Ancestral Voices Back to Intuitive and Rational Thinking
152(5)
6.3 Traditional Social Roles for Wind-instrument Players
157(3)
6.4 The Sonic Circle
160(2)
6.5 Practicing Through the Circle of Sounds
162(2)
6.6 Applying Sound Quality
164(5)
6.6.1 Absolute Sound Quality Assessment
165(1)
6.6.2 Sound Quality of the Instrument Variations
166(2)
6.6.3 Character Profile Suitability
168(1)
6.7 Case Study 1: The Stiff Cow Leads the Way
169(5)
6.8 Case Study 2: Doppelgaenger
174(3)
7 Sound Radiation, Recording, and Environment
177(10)
8 Epilogue
187(2)
References 189(12)
Index 201
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